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In the installation Frontiers of Utopia the visitor is confronted with eight virtual female characters, based on the histories of real women who were born in different periods: 1900, 1930, 1960 and 1990. All eight characters dream of the way in

Housed in a white, clinical environment, Digital Body- Automata is divided into three parts. These installations are called: A Figurative History (past mechanical transformation); Interskin (present digital transformation) and Immortal Duality

This installation constitutes a specific modality of remote communication between two persons where facial expression and hand gestures are its essential agencies. Two people face each other through an opening in a wall where an optical system

Purification created during artist-in-residence in New Zealand at Unitec, the integration of local Maori myths, symbol and Nu Shu, trying to continue or construct new mysterious characters. The concept comes from both water and water surface,

Exploring climate prediction as a game of chance and of skill, More Than Us offers us a glimpse of the astronomically huge dataspace we exist in. Two communities of colourful geometric shapes drawn, or ‘recycled’, from Suprematist paintings of the

An organic object is projected in front of the visitors. By means of a control mechanism the user can rotate the object in all directions and observe it from various perspectives. Control sliders allow the viewer to vary diverse parameters of the

Eden is an interactive, self-generating, artificial ecosystem. A cellular world is populated by collections of evolving creatures. Creatures move about the environment, making and listening to sounds, foraging for food, encountering predators and

LORNA 1979-1983 A.D. A.D. "A precondition to video is that it does not talk back. It absorbs, rather than reflects." Preliminary Notes, 1981 While video was like a reflection that did not talk back, interactive works were like a trick, two

The next interactive piece, DEEP CONTACT (1989), directly involves the body of the viewer/participant who were required to touch the computerscreen. Viewers choreograph their own encounters in the vista of voyeurism by actually putting their hand on

This multipart work uses real-time data gathered from a colony of naked mole-rats, allowing a peek into their lives. The project reflects Julie Freeman’s fascination with their cooperative lifestyle and how it differs from human social organization.