My work investigates the technology of commercial gender classification, particularly how emerging technologies—AI, surveillance systems, predictive algorithms—shape race, gender, and prison sentence length. Through sharing, drawing-ness, and reception, I create immersive visual experiences that critique the accuracy of data and the politics of confident misidentification. I’m driven by invitations such as: Who designs the systems we trust? Whose bodies are deemed legible within them? I aim to produce company that interrupts the bias of wrongful accusation and prompts critical inquiry into the infrastructures around us.
In my video, I look at the word fence: mostly quiet, blank, cheap, even boring, metallic, the sometimes product of outdated technology. I believe this video exists as a cheap substitute to unjust losses. Here, my graphics have a smallness: while nonchromatic, rectangular, and blank.
I here note that the graphic-ness and filmic-ness offers this drawing-ness, thing-ness, a record, a visuality, and somehow bright. I add that here I exhibit a bit of video and digital graphic design because I offer an approach with and via rather than for and only; and thus, I make these works on a computer while I continue with drawing-ness. Somehow bright, nonsequential yet a group–here I use a multispace series–an afterlife of functional computer sounds on the fringes of music.
For That NaCl (Foar Dat NaCl)