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Impalpability
1998
On a dark computerscreen the viewer sees a threedimensional sphere with a surface showing a closeup view of human skin. By lifting up the mouse and moving the ball underneath with the thumb the movement of the virtual object can be manipulated.
Time Capsule
1997
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1997
"Time Capsule" is a work-experience that lies somewhere between a local event-installation, a site-specific work in which the site itself is both my body and a remote database, a simulcast on TV and the Web, and interactive webscanning of my body.
Spider Haus
2006
Spider Haus is a transpecies communication artwork constructed of stereo lithography plastic and a common house spider (Theridiidae) in the winter and an orbital web spider in the summer. It is designed to amplify and connect the viewer with the
Erwin Redl
My work is based on research into the phenomenological nature of visual perception. The emphasis is on reframing the relationship between traditional fine art media and the ever increasing possibilities of digital media. The artworks reflect upon
Lautriv Chromagnon/Medusa
1995
Lautriv's body is an interactive sculpture. Both sexes are contained in unique figure, composed by a synthesis of classical forms: the head of Medusa, the ears (serpents) of Medusa, the chest and hand of Discobolo and the abdomen and legs of
Mobile Feelings II
2002
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2003
video
Tangible Biofeedback Communication Device Users at the Ars Electronica are provided with specially equipped "Mobile Feelings" phone devices that resemble organic or bodily shapes. These devices host miniature bio-sensors and actuators that capture
Borderless Under the Skin
1992
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1994
This piece is contained inside of a "Biohazrd Tent", or isolation chamber. Inside of the tent are several I.V. drip bags for blood transfusions, delivery of drugs etc. Inside of each I.V. drip bag is a surgical glove which has been fitted with
Stages Elements Humans
1998
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1998
As you enter into the space you are confronted with a dramatic and disturbing combination of images and sound. A wall of figures, naked and staring straight at the audience span the width of the gallery space. The life size figures initially
new skin
2002
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2002
The Broad Art Foundation's new skin, 2002, presents an evolution from Aitken's earlier styles, both physically and conceptually. Projected from four corners of a room onto a pair of suspended, intersecting oval screens, the work is part film and
skin
A collection of images and thoughts about skin
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