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. An image is rebuilt in 3D, then re materialised in beeswax, echoing the need to keep moving between states.
The work moves between digital and physical space as part of the same process. Sculpture, AI video, installation, and textiles trace how one form leaks into another, carrying material through and returning it altered.
Craft materials are used deliberately within that process. Beeswax, silk, and hand worked elements slow things down and interrupt automated systems. Silk, a fabric largely unchanged for centuries, carries an AI mediated design. Labour becomes visible again through friction, instability, and small failures.
Mrs Luva Luva operates as both method and position. It moves through systems without settling, shifting across roles, forms, and identities. Identity remains shifting, partial, and not extractable as a stable form. In a culture of constant visibility and clear categorisation, the work sets limits on what is taken, what is stored, and what is kept private.