I work with systems that take a subject as input and return it in altered form. A face becomes data, mapped to colour, sound, and animation, or a point of identification for visiting bots. An image is rebuilt in 3D, then rematerialised in beeswax.
The work moves between digital and physical space as part of the same process. Sculpture, AI video, installation, and textiles show one form leaking into another. Data becomes material, and the material feeds its own data back.
I use craft materials deliberately, for the history each one carries. In Late Stage Brologluglia, beeswax, made through the shared labour of the hive, is shaped into the heads of the ten richest men on the planet. The multiheaded monstrosity sits on a Roomba, hoovering up the crumbs. Capital Worming through threads uses silk, which travelled the earliest trade routes of capitalism and became a symbol of status and luxury, yet as a material has barely changed in millennia. Here those trade routes end in technology, which digitally imprints an AI mediated design onto the silk. It is sold as an expensive scarf, a luxury object with minimal labour in the product itself.
My work as Mrs Luva-Luva operates as both method and position. It moves through systems without settling, shifting across roles and forms. Through ubiquitous surveillance, online and offline, and through the information we offer up about ourselves, we can be made legible, categorised, and manipulated. In the work, identity stays partial and keeps changing, so it can’t be extracted as a stable form. It sets limits on what can be taken and what stays private.