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Latest
LIFETIME APPROVAL RATE 96%
Sculpture ‘HAND 14’
[Silicone]
20x16 cm
2023
Mechanical Sculpture ‘HAND 21’
[Silicone, Mechanics]
20x16 cm
2023
Video Installation ‘Lifetime Approval Rate 96%’
[Annotation work on A training platform,Laion-5B Database, Recorded heartbeat, Raspberry pi, LCD Screens, Speaker]
21 x 21cm
2024
Sculpture ‘Training data’
[Silicone]
Variable size
2023
[Silicone]
20x16 cm
2023
Mechanical Sculpture ‘HAND 21’
[Silicone, Mechanics]
20x16 cm
2023
Video Installation ‘Lifetime Approval Rate 96%’
[Annotation work on A training platform,Laion-5B Database, Recorded heartbeat, Raspberry pi, LCD Screens, Speaker]
21 x 21cm
2024
Sculpture ‘Training data’
[Silicone]
Variable size
2023
Hands are part of the body language of humans, both on a conscious and on an unconscious level. Sometimes they seem to possess a life of their own and communicate more than what their owner means to convey, opening up hidden emotions and involuntary messages.
While we put AI on a pedestal for its intelligence, its depiction of our hands tells a different story. Within the unclear distinction between physical and digital reality, hands, known for communicating hidden messages, now reveal one too. It deforms and multiplies them. These anomalies not only reveal that ‘’AI is present’’, but also that it is dependent on human hands as tools to grasp reality – through their clicks on a trackpad and as a material for training data. In this scattered industrialised human resource farm, discarded training data shows our joint struggle to grasp each other's realities. While we cater to AIs wishes, we slowly become interdependent and lay our livelihood in artificial hands.
In this symbiotic relationship, hands are, like a visible sign under the surface, signalling a juggle between trust and sacrifice, recognition and estrangement in the formation of our reality.
Teaser
2023
BLOB #1
Sculpture ‘BLOB #1’
[Wet clay, drip,
Cloth with waterglas]
100 x 100 x 70cm
2023
The deformed human blob made from wet clay embodies human relationship with a seemingly simple system that both sustains and shapes us. The sculpture's malleability is sustained by a lifeline, a drip that infuses seemingly desired "nutrients" into it. This drip, reminiscent of the external influences of our societal structure, symbolizes the continuous provision of influences that, on the surface, may appear beneficial or desirable, yet simultaneously perpetuate a sense of hunger or unfulfillment. The materiality, form and surface in this work capture a state of being that is perpetually unresolved, in constant flux.
2022
OUR MIND AS A HOST
Video Installation
[Database with 1866 images,
321 sounds of parasites
and surveillance technologies]
7.5 x 3 m
2022
[Database with 1866 images,
321 sounds of parasites
and surveillance technologies]
7.5 x 3 m
2022
Documentation video
New species are entering our world and living at our expense. As parasites, hidden surveillance technologies are preying and feeding on us. When they find a weak spot, their biometric algorithms crawl under our skin without consent. They modify behavior, interpret and maybe even shape one’s being, often without us noticing.
I assembled a database of 1866 images and 321 sounds of parasites and surveillance technologies, and compared their appearance and behavior, like surveillance algorithms and parasitologists do to analyze their find. In the montage, a mental phenomenon is used, where the viewer creates- from two images, a third image in te brain. Therefore,these images are expected to interact in the mind of the viewer; even though they are in reality unrelated. Visual similarities lead the edit, and‘‘control’’ the viewer’s eyes over the screen. As unpredictable and elusive parasites andsurveillance technologies are, the images appeara-rhythmic, in different sizes and places, which makes it hard to isolate and identify one byitself.
So the work will, as a parasite in the brain, manipulate perception -and can only exist- in ourmind as a host.
2022
SPONSORED
Book ‘Sponsored’
[Ink on paper, saddle stitch binding]
21 x 21 cm (1080 x 1920 px)
2022
New dummy in production
[Ink on paper, saddle stitch binding]
21 x 21 cm (1080 x 1920 px)
2022
New dummy in production
‘’The relationship with my phone used to feel like a one-way relationship. But now it isgetting more intelligent and is able to talkback sometimes. Swiping from advertisementto advertisement, I’m in a continuous feedback loop of who I consciously- but also unconsciously am. Or maybe; of who I shouldbe?’’
This ongoing conversation is laid bare in a photobook novel, where brutally honestdata is kept chronologically. The feedbackloop manifests itself directly, with a huge delay, or not at all. It is not always clear what influences what, yet biases present themselves. In the narrative, elements like maintaining a healthy lifestyle, migration and being in a relationship are misconstrued as signs of pregnancy, contrary to reality. These assumptions found in the personalized ads, result in a distored self-perception. As the story unfolds, the ads seem to take sides, endorsing the partner's perspective in conflicts and subtly probing whether the user is trapped in a toxic relationship. Initially promoting casual alcohol consumption and dating, the ads gradually escalate to the point of advocating behaviors that result in liver problems and sexually transmitted diseases.
2021-2023
PAREIDOLIA ‘SELFIE’
Prints ’Selfie’ 1 t/m 31
[Hacked surveillance cameras,
crystalgloss dibont]
Variable sizes
2021-2023
[Hacked surveillance cameras,
crystalgloss dibont]
Variable sizes
2021-2023
Over 770 million security cameras worldwide are watching over us. Even though, they are here to secure us from danger -like yet another god who is always by our side- it is easy to enter their minds and become a viewer through their eyes. While breaking into surveillance cameras, I started to feel empathy for them. I developed the tendency to recognize animalistic- and human traits in security systems. A sense of pareidolia might even occur to them -the security systems- as well. Seeing familiarities where there are none.
How do they view themselves? Who’s domesticating who?