ZOE (2023)

ZOE is mainly an interactive work between two non-humans while also creating a space for humans to be part of a place that is not about them. One of ZOE's core principles is that of care. The work revolves around the care of the robotic system for the needs of the Reishi indicated by the Reishi. This also feeds the robotic system a purpose.

Intimate Skins (2023)

Intimate Skins—a practice-led inquiry—might be considered a choreographic machine: one that approaches the movement oscillating between cables, visitors, avatars, computers, dancers, digital human pipelines, smartphones, screens, self, LiDAR scanner, camera, eye, possibly secret service agents, machines, and 3D animation software.

Cybernetic organisms (2023)

Concealing the human form with abstract, enigmatic shapes and silhouettes, Tina Lechner reveals her own take on the Anthropocene and the role of the female form, creating cyborgs by her own means. The fascination with the human form, its alteration, distortion or optimization is a wide phenomenon in various cultural context and epochs.

Atlas of the Liminal (2023)

The project traces transitional spaces, contested places, zones of exception, territories haunted by past innovation, frontiers lacerated by conflicting visions. Generated through algorithmic processes, machinic seeing unwraps 3D image data onto the plane – obtaining perspectives alien to the human eye, and integrating the dimension of time where views overlap.

this excerpt comes from a longer essay documenting the thinking and positioning of these images (2023)

these fictionings are assigned to a patheme-matheme designation and look to provide alternative models for understanding the poetics and materialities of artificial intelligences...working somewhere between order and disorder…utilising rationalised computational systems and human intentionality…

Planetary Skins (2023)

Planetary Skins takes a step forward from reflecting critically on the hybridisation of presence and the rise of dataism experienced today. Instead, the project reaches out into local spaces and at the same time collects and works with their heterogenic perspectives, ideas, controversies and competencies.

#camouflagemimicskin (2022)

The tactile registration of your world, its immersive immediacy of sensation, translates into the shaping of your surfaces. Like a map it translates and replicates texture, modelling with the papillae nodes in the skin. Protean, you replicate the contours of rock or frond, and their texture-mesh becomes your outer skin.

Candids (2020)

Personal videos from the artist‘s private life were examined for their movement patterns using an image analysis algorithm. The colors of the lines are the original colors of the video, all movements that were captured in the video are distilled on the image surface.

In the Vertigo of Translations (2022)

The anticipation of translation is a constituent part of 3D modelling when the final product is intended to be printed. An artist or designer pre-emptively avoids certain design elements known to be unprintable or incorporates them in excess to examine how the translation will fail.

doomscrolling (2022)

My Google Drive is the saddest thing in the world. We are in the midst of a paradigm shift and I’m choosing availability. Semi-passionate things that end badly are circulated within self-extinguishing stories. An economy of stress. All I want is for my ankles to be warmer.

The Sight of Clouds (2023)

Just as seeing the invisible in what is seen, every line placed on paper must pass through the opaque manual process. Thus, every drawing contains the invisible in its visibility, and every line has palpably emerged from this constellation.

Intimacy of Mutation (2023)

Artificial intelligence (AI) feeds off human bodies, extracting data, analysing, mapping, forming abstract representations and extracting surplus value from our most intimate interactions, desires, and dreams. Intimacy of mutation explores the algorithmic gaze of machine learning to investigate how ‘the digital’ unfolds within bodies.

Grasping the Liquid (2023)

By using jellification, solid data is received, and statistical analyses can be conducted, whereby the data’s firm qualities are associated with objectivity, reliability and truth. The liquid becomes tangible, easier to grasp, wobbly and solid at the same time. The external support structure becomes obsolete, as the external becomes internalised.

The Gravity of Ghosts: Radical Matter and the Reality of the Void (2023)

When it comes to nothing, everything is at stake. For millennia, the investigation of void space has been closely intertwined with the exploration of matter. As of today, the significance of empty space manifests in multiple ways, which not only challenge our understanding of the universe but also yield radical consequences for matter.

Escaping Auguraculum - on emergent divinations (2023)

Complex systems, contrary to their name, do not have to be very complicated to self-organise in line with the principles of complexity. Rather, complexity refers to the impossibility of universal scalability of local structural and functional forms of ordering.

acute provocations (2022)

Algorithms identify and classify (individuals, groups, behaviours, trends), generate and predict; rank, sort, and order (greater than, close to). These processes operate on aggregations and approximations, and are contingent on choices about what constitutes data (figure/ground, signal/noise), what space the data is embedded in, how it is quantified – that is, on underlying mathematical choices.

To get lost in mysterious mist (2021)

On December 11, 1978, an attack by guerrilla forces on a fuel storage facility in Salisbury was a victory in the struggle, which two years later brought independence to Zimbabwe. Through this act the atmospheric conditions of liberation were encountered: conjured through smoke, thickening of airwaves, and aided by unfamiliar voices and mystical birds.