At the centre of the project is Albertina, a digital avatar who is drawn from Angela Carter’s shapeshifting, glass-like heroine of the prescient and hallucinatory novel “The Infernal Desire Machines of Doctor Hoffman” (1972). Across different narrative states, she appears as a menacing black swan, a dreamlike temptress, or a woman dissolving like snow—embodiments of unstable identity and the fluidity of desire.
The sequence “Albertina the Snow Woman” explored fragility and transformation as the avatar melts into water, evoking the dissolution of self, while “Albertinas”, lush, overgrown spring landscapes function as metaphors for adolescent erotic imagination and the unruly overflow of desire. Currently, the fall and summer sequence is being developed, featuring Albertina as a black swan and a dreamlike temptress.
I am experimenting with digital cameras to create a multichannel video projection that examines the shifting dynamics between body, mind, and soul—how desire and ideology can rewrite the self at every level—one in which identity is continually reconfigured through fantasy, ideology, and digital embodiment—a critique of the idea that the mind can clearly perceive or control the world.