Some stage details about Bat woman Lab
Synthetic Oracles 2023. Video ( color, sound; 08:30 minutes)
Through a constellation of sculptural assemblages, synthetic wigs, readymade lighting rigs, porcelain-like fragments, and large-scale video projections, Synthetic Oracles conjures the image of a collapsed future—one built on fragile dreams of hyper-femininity, automation, and artificial intelligence. The installation reads like the remnants of an abandoned speculative lab. The work begins by drawing a symbolic connection between the “Bat-Women” of American comic books and the pandemic-era figure of “Batwoman,” placing this slippage within a pseudo-scientific environment: an artist-constructed laboratory where the absence of a female researcher renders the scene unsettling. Animal skins and industrial materials are strewn across the floor, while metallic garments glint in sterile light. This juxtaposition of organic remnants and fabricated surfaces imbues the tin and synthetic fibers with a strange, subconscious presence while reframing materiality as a site of resistance against the erasure of individuality.
Through a constellation of sculptural assemblages, synthetic wigs, readymade lighting rigs, porcelain-like fragments, and large-scale video projections, Synthetic Oracles conjures the image of a collapsed future—one built on fragile dreams of hyper-femininity, automation, and artificial intelligence. The installation reads like the remnants of an abandoned speculative lab. The work begins by drawing a symbolic connection between the “Bat-Women” of American comic books and the pandemic-era figure of “Batwoman,” placing this slippage within a pseudo-scientific environment: an artist-constructed laboratory where the absence of a female researcher renders the scene unsettling. Animal skins and industrial materials are strewn across the floor, while metallic garments glint in sterile light. This juxtaposition of organic remnants and fabricated surfaces imbues the tin and synthetic fibers with a strange, subconscious presence while reframing materiality as a site of resistance against the erasure of individuality.
Mind Hacked: Fantacy of Psychological Ops, 2023. Blonde wig, light bulb, Some costume settings and stage details about Bat woman
Warming Trays for food, white latex with acrylic, packaging aids.
Some costume settings about Bat woman
Some costume settings and stage details about Bat woman
As the installation unfolds, it transitions into a single-channel video performance. The performer interacts with objects—costumes, tools, surfaces—in a hypnotic, fragmented rhythm, moving through a shifting set arranged like a living magazine spread. The visual language blends fragments from The Legend of the White Snake with advertising copy, suggesting a collision between myth, commerce, and gendered representation. Initially disjointed, the sequence slowly accumulates meaning as gestures and texts echo each other. Within this semiotic layering, women and animals emerge as parallel figures—both mythologized and commodified, both threatened and made spectral.
Through the lens of feminist critique, Synthetic Oracles becomes more than a formal study of fragmentation; it is a call to arms. Drawing on thinkers such as Haraway (1991), Halberstam (2011), Spivak (1988), and Federici (2004), the work interrogates patriarchal structures and classical Western ideals by proposing an alternative visual grammar for the “other”—whether defined by gender, species, or social status. It reclaims the symbolic, mythological, and biological dimensions of female and non-human bodies, revealing how their representation has long served systems of domination.
Echoing Silvia Federici’s critique of capitalist violence, the work links contemporary symbolic violence against women with historical processes of accumulation and control. Just as the witch hunts of early modern Europe functioned as tools for disciplining bodies and enclosing communal resources, today’s commodification and surveillance of gendered bodies reflect parallel logics of exploitation and erasure. The performer’s movements—eerie, seductive, mechanized—mirror this cyclical violence, and her interaction with objects becomes both ritual and resistance.
https://www.science.org/doi/10.1126/science.369.6503.487
