Realistic Implausibility and Improbable Reality
video projection, archival pigment print, plastic, metal rings, monitors, clear plastic PVC boxes, LEDs, acrylic, batteries
I focus on dialogues between human identity and its superciality. I construct idiosyncratic situations employing human gures and mass-produced commodities, reinterpreting collections of personal or social memoir. During the process, I adopt the form of mass production. However, being a labor worker does not ofer a criticism automatically because it is admitting the form of sense that Capitalism have created. Instead, I focus on what form is. I transform mass standardized packages from accommodation for products to an active display platform for virtual beings. By disentangling the manufactural process, emblematic of how Late Capitalism forms our lives, I revolt against the way we perceive reality.
The subtle but compelling discrepancy between the simulacra and reality induces the viewers to feel empathy or revulsion, sending them up and down the uncanny valley. I open this disjunction up to playful interaction and introspective exploration. The viewer is invited to play, zoom into the frame, and navigate the simulated metaphysical space where the digital sublime is framed. Within this hyperreality, articial body alters grotesquely, the viewer becomes aware that the simulation of reality does not represent the actual female body. This collapse of the indistinguishable diference between the two domains demolishes any dened identity. My challenge is the absoluteness of identity formation under Capitalism.
We see reality only within the gaze of capital. Capitalism is a form of constituting material relation, but also the way it acts is a form of sense and a form of thought. It formalizes our reality. I aim to break the false idea that we can access the reality given to us. My work presents modes of identity that difer from the associations that capital constructs.
Gender specific images from video games produce a symbol that is unrelated to the real being. The symbol does not claim nor represent any subject, but it is self-referential and forges the subject. I deconstruct this notion rather than redene it. In my work, digitally generated women are copied from generic game character but they are metamorphosed into the grotesque. I transform the gures beyond the conventional human anatomy. Joints rotate over their ranges, body parts are duplicated, and pieces are exaggerated and distorted. The uncanny imagery of the hominid frame is juxtaposed within the cybernated realm, seesawing between realistic implausibility and improbable reality.
By fabricating the female body depicted by 3D graphics in mass media, a prevalent contemporary visual culture where reality is dismissed and only simulation exists, I attempt to dismantle and reconstruct represented notions of the human form. I create female images from a female perspective, invading conformist culture from which women have been excluded. Further, this practice allows me to ofer a criticism on how societally xed ideas intervene in our perception.