Virtual Nature Tourist(2020)
woman, holding(2020)

What’s the word for the sound of infinite scrolling?(2019)
Ritual Crossover(2019)
Offshore Bakery(2019)
Everyone agrees with you(2019)
Crypto H(e)aven (2019)
Algorithmic Oracle(2019)
Cognitive Services(2019)
Flawed Object(2019)
Google Receipts(2019)
Human Object(2019)
An area of some importance(2019)
Futurememory Dataforming(2018)
Another (2017)
The tension of things unsaid(2018)
Christmas at my parents’ house (2017)
2079HarbourSounds.pdf (2017)
Continental Thread (2017-)
Flytrap considers historical burdens (2017)
Now no longer – Now not yet (2016)
Camera obscura (2014)

woman, holding 

This work takes as its starting point, commercial facial analyses and image- description services which are trained on data sets taken from social media and explores the consequent bias that comes with those data sets. Thus, women are often described as ‘holding’, implying that the data sets with which the algorithms trained see women as carers. Women looking straight into the camera as labelled as “sexy”, while a shirtless man posing seductively is labelled as “serious” and “fine-looking”. A converse action, testing text-to-image algorithms “woman in front of a mirror” results in a semi-abstract blob that can be recognised as a posed selfie in underwear.
We may think of algorithms as somehow neutral, but ultimately, they have been created by people who have their own biases and prejudices. So, by default, algorithms have learnt what type of person “looked criminal” and what gender should be attributed to a default doctor, lawyer and scientist. The 2020s seen from the future are a turning point for algorithmic inequality. This is the decade when the untamed gender data gap led to women’s algorithmic invisibility.
Steel, plastic, epoxy, printed image,wax, electronics,tablets, thread, fabric.
190cm x 260cm x 60cm

What’s the word for the sound of infinite scrolling?

The work looks at machines looking at us – looking, tracking, categorising, talking about humans behind our backs. These machines create biased data portraiture of advertisement markers that are interpreted in clusters. A gentle hover over a post by a user, causes another marker to be added. They are building memory storage of social media activity, adding words that are not known to the user but are indicators for other machines of the activity carried out. Algorithms built by humans talk to other algorithms through our tracking history, categorising, simplifying our complex selves to words that when analysed by different algorithms indicate our mental state, our concerns and our political preferences. We are the data, the 21st-century gold — gentle scrolling ads to the wealth of the machine owners. In a way, we are always at work for them.

Taking instagram advert markers from January 2018 until December 2019 from my Instagram account and exporting them to be analysed via Cambridge University’s Psychometrics Center website in equal parts, with that creating psychological profile of a person I was in slices. This research is what Cambridge Analytica based their data collecting model on. The tablets display the results of my character analysis swinging between altruism and selfishness, neuroticism and conscientiousness, displaying my moods and unconscious activity. Communicating about my character in words I also use but can not understand.  

Camera Obscura (2014) 

The project uses the techniques of Camera Obscura not only to bring outside space to inside space but also to explore safe spaces for observation within a public space in an overpopulated environment. 

A shelter of an opposite space, it counterbalances the intensity, overcrowdedness and feeling of being overwhelmed at yearly Notte Biance event, where between 40000 and 80000 people gather for one evening in 0.62 sq Km of space.

With Nicolas Borchers and Berak Eyiceoglu

At Notte Bianca, 2014, Valletta
supported by Notte Bianca (ACM, Malta)

(plywood, paint, lenses, audio)
240 cm x 240 cm x 480 cm
(plywood, paint, lenses, audio)