2025
Crouching (0.44), Covering torso(0.52), Sad(0.23), Nudity likelihood (0.61)
Sculpture
Title ‘Crouching (0.44), Covering torso(0.52) Sad(0.23),
Nudity likelihood (0.61)
Material [Clay, Camera, Pose estimation algorithm, classification pipeline]
Size 80 x 65 x 40 cm
Year 2025
Video
Title ‘False positive’
Material [Aluminium, Ipad, Pose estimation algorithm, Camera]
Size 29 x 11 x 5 cm
Full HD
Year 2025
Visual systems have long sought to render bodies legible. The classical canon of proportion once codified ideal beauty; physiognomy labeled features ‘pointy, ‘sagging’, ‘large’ to assign character and social worth. Visual codes long shape how bodies are read, held, represented and valued. Today, this practice persists invisibilly within social media and surveillance algorithms, shaping new codes and norms that reinforce adaptation.
In response, Kind hands part of her artistic agency to recognition technologies. Malleable blobs of clay are shaped and reshaped by hand in dialogue with computer vision algorithms, turning gestures into probability scores, and the clay into statistics. This feedback loop between gesture and code continues until the algorithm detects the clay as a body “worth attention”. At that moment of recognition, the form is finished and refined at the key markers for the algorithm, materializing the threshold where the machine mistakes its own projections for a human body. A false positive where limbs act as lures and silhouette suggest torso.
The algorithmic gaze becomes visible in the accompanying video; a machinic eye tracking, measuring and animating the sculpture. Life-like skeletal overlays, confidence scores, and behavioral classifications are extracted from the body, while the sculpture remains fixed, silent and depleted, between algorithmic logic and material reality.
