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		<title>Desktop</title>
				
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&#60;img width="324" height="490" width_o="324" height_o="490" data-src="https://freight.cargo.site/t/original/i/8bb4dfe34cd80bde4296cfc27a694c698fabe0b8a8a46c10aedfef07b5f0e77a/BV.3.png" data-mid="219330989" border="0" alt="The Disappearing Self, First Act" data-caption="The Disappearing Self, First Act" src="https://freight.cargo.site/w/324/i/8bb4dfe34cd80bde4296cfc27a694c698fabe0b8a8a46c10aedfef07b5f0e77a/BV.3.png" /&#62;
&#60;img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/70c62e57dc64fd3492f20d728e2b93c075ee223ce14445af8396b5109271ca44/globe.png" data-mid="156150899" border="0"  src="https://freight.cargo.site/w/1000/i/70c62e57dc64fd3492f20d728e2b93c075ee223ce14445af8396b5109271ca44/globe.png" /&#62;
&#60;img width="383" height="499" width_o="383" height_o="499" data-src="https://freight.cargo.site/t/original/i/607b516b4fbe5a492bd9af5216b7d5904f5e69d19ab76f9207fdf7bb84b85f75/icono.05.png" data-mid="159503235" border="0"  src="https://freight.cargo.site/w/383/i/607b516b4fbe5a492bd9af5216b7d5904f5e69d19ab76f9207fdf7bb84b85f75/icono.05.png" /&#62;
&#60;img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/9f1d4e2f7ab29647f9ed02e4ba06b6333065a6ed4f6da7680a48e32200fdf7ff/tools.png" data-mid="156150897" border="0"  src="https://freight.cargo.site/w/1000/i/9f1d4e2f7ab29647f9ed02e4ba06b6333065a6ed4f6da7680a48e32200fdf7ff/tools.png" /&#62;
&#60;img width="400" height="400" width_o="400" height_o="400" data-src="https://freight.cargo.site/t/original/i/060faa19a89506ee54ddbf86146685e40075e72211784f4d8cca9761c8ef2f58/ICONO.04.png" data-mid="159499840" border="0" alt="Performances" data-caption="Performances" src="https://freight.cargo.site/w/400/i/060faa19a89506ee54ddbf86146685e40075e72211784f4d8cca9761c8ef2f58/ICONO.04.png" /&#62;
&#60;img width="4096" height="4096" width_o="4096" height_o="4096" data-src="https://freight.cargo.site/t/original/i/485a0cb382cdb8c297a36de8cf771826e9d9242e18c6e0021f541ebc0a30004b/2697658_apple_mail_email_envelope_inbox_icon.png" data-mid="161293823" border="0" alt="Email me" data-caption="Email me" src="https://freight.cargo.site/w/1000/i/485a0cb382cdb8c297a36de8cf771826e9d9242e18c6e0021f541ebc0a30004b/2697658_apple_mail_email_envelope_inbox_icon.png" /&#62;
&#60;img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/3699d2b7284bb007d2ab15541ab20668a07fc39482db403c5942d6c8b7e6d7c2/pdf.png" data-mid="156150901" border="0" alt="CV" data-caption="CV" src="https://freight.cargo.site/w/1000/i/3699d2b7284bb007d2ab15541ab20668a07fc39482db403c5942d6c8b7e6d7c2/pdf.png" /&#62;
&#60;img width="1600" height="1600" width_o="1600" height_o="1600" data-src="https://freight.cargo.site/t/original/i/cdbbd7880afa71552c271419f00c4ad4aa8b1ec4a2c5f766fef0e29768c44234/kisspng-microsoft-word-computer-icons-microsoft-excel-micr-words-5abca701d29794.3933084715223129618626.png" data-mid="161293180" border="0" alt="Academical Writings" data-caption="Academical Writings" src="https://freight.cargo.site/w/1000/i/cdbbd7880afa71552c271419f00c4ad4aa8b1ec4a2c5f766fef0e29768c44234/kisspng-microsoft-word-computer-icons-microsoft-excel-micr-words-5abca701d29794.3933084715223129618626.png" /&#62;
&#60;img width="5735" height="4628" width_o="5735" height_o="4628" data-src="https://freight.cargo.site/t/original/i/54b3122b85119ec82718d43fe61f30dae2fac80566181cda75d15f1b65a4524b/6-performance-Image-1-low.jpg" data-mid="229571800" border="0" alt="Dimensional Bodies, Automated Version." data-caption="Dimensional Bodies, Automated Version." src="https://freight.cargo.site/w/1000/i/54b3122b85119ec82718d43fe61f30dae2fac80566181cda75d15f1b65a4524b/6-performance-Image-1-low.jpg" /&#62;
&#60;img width="800" height="800" width_o="800" height_o="800" data-src="https://freight.cargo.site/t/original/i/f386a18a95f0853abc977b7d7cc09ec0a2ef956a80b7b29229cfaeb5d39c2dc5/cd.png" data-mid="156150887" border="0"  src="https://freight.cargo.site/w/800/i/f386a18a95f0853abc977b7d7cc09ec0a2ef956a80b7b29229cfaeb5d39c2dc5/cd.png" /&#62;
&#60;img width="944" height="610" width_o="944" height_o="610" data-src="https://freight.cargo.site/t/original/i/68649726cdd17f9344ebd26ac390989b156a11860bf8da15d25104d74a5b2429/Screenshot-2025-11-11-at-7.29.14PM.png" data-mid="240531620" border="0"  src="https://freight.cargo.site/w/944/i/68649726cdd17f9344ebd26ac390989b156a11860bf8da15d25104d74a5b2429/Screenshot-2025-11-11-at-7.29.14PM.png" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Academical Writings</title>
				
		<link>https://brendavega.com/Academical-Writings</link>

		<pubDate>Wed, 07 Dec 2022 17:54:24 +0000</pubDate>

		<dc:creator>BRENDAVEGA</dc:creator>

		<guid isPermaLink="true">https://brendavega.com/Academical-Writings</guid>

		<description>.
.

	
	
 







	


ACADEMICAL WRITINGS
	
︎

	
1. 2024.&#38;nbsp;post(s) es una publicación anual del Colegio de Comunicación y Artes Contemporáneas de la Universidad San Francisco de Quito. 
“Why the Selfie Matters? A first-person story”
Brenda Vega
DOI: https://doi.org/10.18272/post(s).v10i1.3348

2. 2018. Spanish scientific article: Index Revista de Arte ContemporáneoLos métodos alternativos de fotografía como un aporte a la obra de artistas emergenteshttp://revistaindex.net/index.php/cav/article/view/235/235&#38;nbsp;


3. 2017. Spanish scientific article: Revista Communication Papers.IMÁGENES Y CONTRA-IMÁGENES. USOS DE LA FOTOGRAFÍA EN LAS PRÁCTICAS ARTÍSTICAS CONTEMPORÁNEAS.EL PERFORMANCE FOTOGRÁFICO DIGITAL Y SU CONDICIÓN REPETITIVA Brenda Gabriela Vega Mora


4. 2016. Critical Context Paper for submission
Ma Photography at London College of Communication“The disappearing present: technology´s anticipation of the performative self”

https://www.academia.edu/33425832/The_Disappearing_Present_Technology_s_Anticipation_of_the_Performative_Self

the-disappearing-present-technologys-anticipation-of-the-performative-self-by-brenda-vega-mora


**Please respect the copywriting of this document and just use it for reference and research.



	






	
	
</description>
		
	</item>
		
		
	<item>
		<title>Performances</title>
				
		<link>https://brendavega.com/Performances</link>

		<pubDate>Mon, 12 Dec 2022 23:42:54 +0000</pubDate>

		<dc:creator>BRENDAVEGA</dc:creator>

		<guid isPermaLink="true">https://brendavega.com/Performances</guid>

		<description>.
.

	
	
 







	


PERFORMANCES
	
︎

	
    











	
&#38;nbsp;
    
    





	
    
&#38;nbsp;
    
    
    
    





	
	



</description>
		
	</item>
		
		
	<item>
		<title>POEMS AND MANIFESTOS</title>
				
		<link>https://brendavega.com/POEMS-AND-MANIFESTOS</link>

		<pubDate>Fri, 02 Dec 2022 01:17:34 +0000</pubDate>

		<dc:creator>BRENDAVEGA</dc:creator>

		<guid isPermaLink="true">https://brendavega.com/POEMS-AND-MANIFESTOS</guid>

		<description>.
.

	
	
 







	
    
    
    POEMS AND MANIFESTOS 
    
	
︎

	



This is not a pipe 2021
 
I POEM
 
Writing Photograps





	Poems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and ManifestosPoems and Manifestos

Poems and Manifestos

Poems and Manifestos

Poems and Manifestos

Poems and Manifestos

Poems and Manifestos



</description>
		
	</item>
		
		
	<item>
		<title>This is not a pipe Manifesto</title>
				
		<link>https://brendavega.com/This-is-not-a-pipe-Manifesto</link>

		<pubDate>Fri, 02 Dec 2022 01:27:26 +0000</pubDate>

		<dc:creator>BRENDAVEGA</dc:creator>

		<guid isPermaLink="true">https://brendavega.com/This-is-not-a-pipe-Manifesto</guid>

		<description>.


	
	
 







	



	
︎

	
    
    
     
    I

You are inside the technological dream,
I am an upgraded version
I am the digital self,
Welcome to Paradise.
My memory was formatted in March 2020, and my ancestors became extinct
They gave me a parallel life.
Doesn't it make you anxious to see us IRL, baby? Previously, the Mona Lisa and I became one within a selfie.
Welcome to paradise. 



II
The present disappears
the performative self enters,
The selfie is the self that inhabits myself,
As one,
Let us circulate freely in the algorithmic field that observes us, does not understand our intentions, and is constantly educated.
Welcome to paradise.



*This manifesto was recited in a holographic form. It was part of the artwork 
"This is not a pipe," 2021, exhibited in "Present alternatives," the first university biennial of multimedia art BUAM21.


	This 
is 
not 
a 
pipe, 
2021





	
	
</description>
		
	</item>
		
		
	<item>
		<title>I POEM</title>
				
		<link>https://brendavega.com/I-POEM</link>

		<pubDate>Fri, 02 Dec 2022 01:36:21 +0000</pubDate>

		<dc:creator>BRENDAVEGA</dc:creator>

		<guid isPermaLink="true">https://brendavega.com/I-POEM</guid>

		<description>.


	
	
 







	



	
︎

	
     I 
    
    
    am 
 I  create 
Am  I ? 
 I  was 
 I  want to be 
 I  take a picture 
 I  perform 
 I  develop 
The self disappears: 
 I  post &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 	 I  read&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 	 I  oscillate &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 	 I  am a butterfly 
 I  need a screen  I  need a screen
Suddenly,  I  glitch
 I  like 
 I  comment  I  comment  I  comment  I  comment
 I  like
 I  am exhausted
 I  have denied you the pleasure&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 	 I  look at the screen 
Enough &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; 	 I  trapped.




*This poem was part of a performance made in the Interim Show of the Masters in Photography at LCC, 
University of the Arts London, 2016.


	I 
POEM





	
	
</description>
		
	</item>
		
		
	<item>
		<title>WRITING PHOTOGRAPHS</title>
				
		<link>https://brendavega.com/WRITING-PHOTOGRAPHS</link>

		<pubDate>Fri, 02 Dec 2022 01:41:07 +0000</pubDate>

		<dc:creator>BRENDAVEGA</dc:creator>

		<guid isPermaLink="true">https://brendavega.com/WRITING-PHOTOGRAPHS</guid>

		<description>.


	
	
 







	



	
︎

	She stands still in the middle of a box room.
She stands and then moves, she is looking through the familiar shape [...] to find out where
she was.
Not an obvious place. And then, screams (high pitch noisy screams).
It is a trap, obviously.
Shut up, you idiot! Think!
Or.
Go back to sleep, soon the wind will lead you where you belong.
She says (in a hideous American voice): “It is cold and humid and I don’t like it, please let me
out”.
But, where you want to go?
BROWSE IT!!!
You don’t want to know where you are, you are in fact, trying to leave it behind, sadly, you
have forgotten.
She swipes, she swipes, she touches but nothing happens no more.
That is the past, no exit to the past.
She finally sings herself a lullaby, not that she knows one.



&#60;img width="1604" height="1200" width_o="1604" height_o="1200" data-src="https://freight.cargo.site/t/original/i/14af7320d8bbdf4bb2c0ce06226c38285252f95495afa0686db5c4bf486a62de/Writing.Photographs.01.png" data-mid="160769354" border="0"  src="https://freight.cargo.site/w/1000/i/14af7320d8bbdf4bb2c0ce06226c38285252f95495afa0686db5c4bf486a62de/Writing.Photographs.01.png" /&#62;
&#60;img width="1604" height="1200" width_o="1604" height_o="1200" data-src="https://freight.cargo.site/t/original/i/e212921cc95f4c2b85a289562d07c6f6e7df22512990b3cc3e605e5d0c8fed88/Writing.Photographs.02.png" data-mid="160769355" border="0"  src="https://freight.cargo.site/w/1000/i/e212921cc95f4c2b85a289562d07c6f6e7df22512990b3cc3e605e5d0c8fed88/Writing.Photographs.02.png" /&#62;
&#60;img width="1604" height="1200" width_o="1604" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1fee2f89eef2c814e1795c1d22da8afc69c93d8550d295df79335ca883c7fec9/Writing.Photographs.03.png" data-mid="160769356" border="0"  src="https://freight.cargo.site/w/1000/i/1fee2f89eef2c814e1795c1d22da8afc69c93d8550d295df79335ca883c7fec9/Writing.Photographs.03.png" /&#62;



	WRITING 
PHOTOGRAPHS





	
	
</description>
		
	</item>
		
		
	<item>
		<title>Dimensional Bodies</title>
				
		<link>https://brendavega.com/Dimensional-Bodies</link>

		<pubDate>Mon, 07 Oct 2024 18:02:52 +0000</pubDate>

		<dc:creator>BRENDAVEGA</dc:creator>

		<guid isPermaLink="true">https://brendavega.com/Dimensional-Bodies</guid>

		<description>.
.

	
	
 







	


DIMENSIONAL BODIES: DRAWING ON AIR AND PAINTING ON PAPER&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
	
︎

	
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/4b783bce6368293a78b2630d03a15939ac4d91ec10ae0961116d7d16dafabff9/_DSC6835.JPG" data-mid="219335986" border="0"  src="https://freight.cargo.site/w/1000/i/4b783bce6368293a78b2630d03a15939ac4d91ec10ae0961116d7d16dafabff9/_DSC6835.JPG" /&#62;


In this series, the artist focuses on the drawing process and the gesture of imitating what she observes. She traces imaginary landscapes, looks at a digital image, and draws from her memories, nature, and identity.

These unique drawings are created on analog photographic paper and through a process called Chemigram. The artist performs this process while looking at the camera, her brush strokes connecting with the latent image. The developer then slowly reveals the drawing on the paper, a mesmerizing sight.

This artwork emerged from the art residency I participated in at Denver Digerati in Denver in May 2024.




	Video performance, alternative photography
Two video projections 
Variable dimensions
2024
&#60;img width="5792" height="7456" width_o="5792" height_o="7456" data-src="https://freight.cargo.site/t/original/i/aa44b57a52b04854672133c99d7788585ad530d7c269534d26f014a64a204839/img20240930_18342594.jpg" data-mid="219336291" border="0"  src="https://freight.cargo.site/w/1000/i/aa44b57a52b04854672133c99d7788585ad530d7c269534d26f014a64a204839/img20240930_18342594.jpg" /&#62;&#60;img width="5700" height="9294" width_o="5700" height_o="9294" data-src="https://freight.cargo.site/t/original/i/e66bfb09f68a38bbdb73b903d1f76435d9bbcff6d88c781180b52bfaf5b630f9/img20240930_18494791.jpg" data-mid="219336300" border="0"  src="https://freight.cargo.site/w/1000/i/e66bfb09f68a38bbdb73b903d1f76435d9bbcff6d88c781180b52bfaf5b630f9/img20240930_18494791.jpg" /&#62;






	&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/217fad43870ccfeacd2dcb303c97d1a966dfef8bde853f435d42a03cfab2dbc7/_DSC6838.JPG" data-mid="219335991" border="0"  src="https://freight.cargo.site/w/1000/i/217fad43870ccfeacd2dcb303c97d1a966dfef8bde853f435d42a03cfab2dbc7/_DSC6838.JPG" /&#62;
	
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/4b0ddafcf50753e9d99e9829e7f501a085e58542fb8ec890daccb80b5b5eee4a/_DSC6836.JPG" data-mid="219335990" border="0"  src="https://freight.cargo.site/w/1000/i/4b0ddafcf50753e9d99e9829e7f501a085e58542fb8ec890daccb80b5b5eee4a/_DSC6836.JPG" /&#62;







</description>
		
	</item>
		
		
	<item>
		<title>Dimensional Bodies, Automated Version.</title>
				
		<link>https://brendavega.com/Dimensional-Bodies-Automated-Version</link>

		<pubDate>Thu, 10 Apr 2025 00:05:32 +0000</pubDate>

		<dc:creator>BRENDAVEGA</dc:creator>

		<guid isPermaLink="true">https://brendavega.com/Dimensional-Bodies-Automated-Version</guid>

		<description>.
.

	
	
 







	


DIMENSIONAL BODIES: DRAWING ON AIR AND PAINTING ON PAPER&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
	
︎

	
&#60;img width="3936" height="2624" width_o="3936" height_o="2624" data-src="https://freight.cargo.site/t/original/i/10697699b1bbedf712b779eb836b973e14681d672567a7c70963fe603b541bc0/4-performance-horizonal.JPG" data-mid="229571845" border="0"  src="https://freight.cargo.site/w/1000/i/10697699b1bbedf712b779eb836b973e14681d672567a7c70963fe603b541bc0/4-performance-horizonal.JPG" /&#62;


This artwork emerges from a need to bridge the analog, the digital, and the organic—specifically, the artist's body. It explores the possibility of becoming a cyborg by directly communicating with the machine through bodily movement. By integrating interactive technology, the artist merges alternative photographic media with performance, creating a dynamic interplay between physical presence and computational processes.
Exploring telepresence and interior selves, the work engages with the process of transmitting bodily movement into data and its subsequent rematerialization. Dimensional Bodies investigates the tensions between physical presence and virtual mediation, emphasizing the one-way nature of communication—where movement is captured, processed, and transformed without direct feedback.
Technically, the project employs a handmade CNC plotter that functions as a photo-developing machine. Using blob tracking in TouchDesigner, real-time hand movements are converted into XY coordinates, which are then sent to an Arduino-controlled mechanism that dispenses the photographic developer into a brush with a dripping system that pours the developer onto light-sensitive paper. Two stepper motors move this machine.
In the live performance, the artist's movements stem from memory—recollections of distant landscapes intertwined with the physical possibilities and impossibilities of the body. The body becomes a site of existential and political emergence, embodying what Latinx philosopher Mariana Ortega describes as the "being-between-worlds"—a multiplicitous selfhood shaped by the negotiation of social identities after migration to the U.S. This in-between self is fluid, continuously shaped by intersecting identities and lived experiences.
The artist has a physical relationship with technology, existing as a hybrid between the machine and the organism, extending the body in different ways and playing with the definition of what a human is in the 21st century.


	Brenda Vega Dimensional Bodies, Drawing Air, Painting on Paper, Automated Version, 2024. Live Performance, Arduino, Touch Designer, CNC Plotter, Photographic Developer, Brush, Photographic Black and White Paper. Variable Dimensions 2024 

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	<item>
		<title>Thinking of the Self</title>
				
		<link>https://brendavega.com/Thinking-of-the-Self</link>

		<pubDate>Mon, 07 Oct 2024 02:39:16 +0000</pubDate>

		<dc:creator>BRENDAVEGA</dc:creator>

		<guid isPermaLink="true">https://brendavega.com/Thinking-of-the-Self</guid>

		<description>.
.

	
	
 







	


THINKING OF THE SELF
	
︎

	
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/094a1179016de8d7467235ed541c2bdda93b0350fb750c0e31b8475b3d1cf1be/IMG_5533.JPG" data-mid="219304480" border="0"  src="https://freight.cargo.site/w/1000/i/094a1179016de8d7467235ed541c2bdda93b0350fb750c0e31b8475b3d1cf1be/IMG_5533.JPG" /&#62;

I contemplate the different ways in which the self can manifest while pondering the significance of the gesture. As I navigate this path, I imprint my diverse forms onto various surfaces, seeking different versions of myself that can coexist without collapsing. The self can manifest in various forms, encompassing digital and material realms.
My project unfolds in a structured progression across three distinct dimensions. First, I am present, living and breathing. Then, I exist as an image akin to a holographic presence. Finally, I take on a more abstract image, blurring the boundaries of self. Picture me as if I were painting myself with chemicals upon a photographic surface, all the while projecting my image to the audience. 

I aim to enact an action, serving as both participant and lead character, by merging technology – encompassing new media and analog photography. This installation represents my exploration of the photographic medium and its potential for expanding its conceptual boundaries. I employ a technique called Chemigram, an alternative process that does not require a camera. The essence of this process lies in the alteration of colors and the direct 'drawing' with chemicals onto photosensitive paper.




	Video performance, alternative photography. Video projection, photographic paper, chemicals. Variable dimensions. 2023

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