Hypermediation

The affect of digital hypermediation on the prosumer’s autonomy, perceived realities and speculated futures


This project considers how users of digital landscapes achieve agency in an algorithmically curated space. The inextricable relationship between cyberspace and contemporary existence forges pervasive hypermediation of experience by digitally reproduced images and information.

Employing techniques of filtration and enacting the glitch as means to slip from the cyclical maelstrom of meditation, I use corrupted photography of the corporeal body to explore the psychological affect of digital media on user’s autonomy and identity. I engage with the algorithms and artificial intelligence which map the avenues of information exposure in cyber navigation. 

Digital hypermediation facilitates the construction of individualised hyperrealities which allow corporations to monetise our bodies, our time, our identities and our autonomy. 

Realisation of my works occur when the digitally constructed images are transferred onto new substrates. The act of printing creates a layer of intervention, warping the image when it’s relocated from the digitally printed material to the final surface. Distortion is investigated further by physically manipulating substrates, allowing the prints to undulate with the folded form, metaphorically suggesting how one’s virtual existence can have real world impacts and have the potential to distort perception of reality. The transfer technique allows us to pause the whirling cycle of digital mediation through interruption in order to focus and examine the power these images may have.


Reversed Hotlink Composition no. 3, 2022, dye sublimation print on aluminium, 27.9 x 35.5 cm, The National Art School Archive
Self Scan no. 1, 2022, image transfer on aluminium, 23.5 x 19.5 cm
Self Scan’s Possible Related Search: Language, 2022, dye sublimation print on aluminium, 27.9 x 35.5 cm
Contoured Form: Backyards, 2022, image transfer on MDF, 34 x 54.5 cm
0.16666666667, 2022, copper plate etching with aquatint on Hahnemühle (framed), 36 x 36 cm
Self Scan Polarised no. 2, 2022, dye sublimation print on aluminium, 27.9 x 35.5 cm
Contoured Form: Landline, 2022, image transfer on MDF, 42 x 54 cm
Contoured Form: No Place Between, 2022, image transfer on MDF, 34 x 55 x 2 cm
Software Portrait no. 2, 2022, image transfer on folded aluminium, 18.5 x 18.5 x 2.5 cm, The City of Sydney Art Collection
Enveloped Form: Reversed Hotlink Composition, 2022, dye sublimation print on folded aluminium, 100 x 50 x 25 cm
Contoured Form: Backyards, 2022, image transfer on MDF, 34 x 54.5 cm
Software Portrait no. 3, 2022, image transfer on folded aluminium, 18.5 x 18.5 x 2.5 cm, The City of Sydney Art Collection
Self Scan no. 1, 2022, image transfer on aluminium, 23.5 x 19.5 cm
Self Scan Polarised no. 1, 2022, dye sublimation print on aluminium, 100 x 100 cm
Nobody, 2022, image transfer on fibre reinforced concrete, 28 x 47 cm
Software Portrait no. 2, 2022, image transfer on folded aluminium, 18.5 x 18.5 x 2.5 cm, The City of Sydney Art Collection
Contoured Form: Landline, 2022, image transfer on MDF, 42 x 54 cm
Enveloped Form: Reversed Hotlink Composition no. 2, 2022, image transfer on aluminium, 27.5 x 21.5 x 7cm
Contoured Form: Backyards, 2022, image transfer on MDF, 34 x 54.5 cm
Enveloped Form: Triple scanned Composition, 2022, dye sublimation print on folded aluminium, 40 x 20 x 10 cm
Structural Self Scan, 2022, image transfer on fibre reinforced concrete 47 x 28 cm
Contoured Form: Landline, 2022, image transfer on MDF, 42 x 54 cmvvvvvvv
0.16666666667, 2022, copper plate etching with aquatint on Hahnemühle (framed), 36 x 36 cm
Contoured Form: No Place Between, 2022, image transfer on MDF, 34 x 55 x 2 cm
Reversed Composition: Shoes, 2022, image transfer on fibre reinforced concrete, 25 x 47.5 cm
Self Scan’s Possible Related Search: Art, 2022, dye sublimation print on aluminiun, 100 x 100 cm
Self Scan no. 2, 2022, image transfer on aluminium, 23.5 x 19.5 cm
Structural Self Scan, 2022, image transfer on fibre reinforced concrete 47 x 28 cm
Reversed Composition: Shoes, 2022, image transfer on fibre reinforced concrete, 25 x 47.5 cm
Contoured Form: No Place Between, 2022, image transfer on MDF, 34 x 55 x 2 cm
Software Portrait no. 3, 2022, image transfer on folded aluminium, 18.5 x 18.5 x 2.5 cm, The City of Sydney Art Collection