Takeover

Watching the behaviour of the visitors of wax museum, I wanted to do something more than they do, go a step or two further. I wanted my interaction with a copy of a celebrity to be something more than just a souvenir snapshot, embracing the beloved individual, touching their artificial body, peeking down their neckline. I put myself in Them, or rather in Their copies; in the images of Their copies I add, "dub over," images of fragments of my own body, my binary DNA. My desire to become Them materialises in this simple gesture, a gesture of combining copies, a gesture of combining pixel with pixel, Their zeros with my ones, Their ones with my zeroes. By attempting to build a bridge over the Uncanny Valley, I fill in Their gaps with myself, I fill in spaces with my body. This is the only way we can meet, only on the binary level can our digital "bodies" become one.

I do not seek to know whether Kim Kardashian really exists. Such a question makes no sense when everything is a simulacrum. I just want to be Them, to siphon off a bit of Their fame for just a moment, but also check whether my own body suits theirs', whether they will not reject me in this zero-one symbiosis, even for but a moment, whether this hyperrealistic transplant will take.

I use a feature of hyperreality that is related to optical, scopic perception; I operate only on an object's surface, reject the illusion of spatial and psychological depth. It is a meeting of two copies, two copies of copies; this symbiotic pixel dance shall remain only an aesthetic hallucination of reality.



The "Takeover" series was created as part of the "Within the Frame of Sopot" Residency, thanks to support of the President of the City of Sopot, Poland