Beehive (2024)

This installation explores how the big data sector, particularly YouTube, threatens children’s rights during their free time and play. By integrating sensors into playground elements, Beehive turns children’s movements into digital actions—scrolling, video playback on YouTube Kids—transforming play into data. The artwork uses the metaphor of bees and honey production to aid children in better understanding data collection and processing.

SenriAn 千利庵 (2021)

Not only our memories, but the things we have forgotten are ‘housed.’ Our soul is an abode. And by remembering ‘houses’ and ‘rooms,’ we lead to ‘abide’ within ourselves.

Gaston Bachelard
The poetics of space (1969)

Photo by Indiara Di Benedetto

Windmill flower (2020)

This project was developed after the first hard COVID-19 lockdown in Austria. It reflects on how social and health strict measures changed our normal daily behavior to a continuous state of awareness.

The windmill flower knocks on the glass to remind us -in a playful way- to open the window to enjoy some fresh air. The flower is moved by two servo motors connected to a microcontroller and an air quality sensor. When the indoor air quality is deteriorating too much, the flower demands some fresh air.

Track-track: Let’s follow the cat! (2020)

Track-track: Let’s follow the cat! is a micro puppet show for children where the spectator’s biometric data animates elements of the scenography. While seeing the show inside a box through a peephole, the kid activates sensors that take the data to make the stars shine, blow the wind, and move the waves.

Listening (2019)

Since 2007, I am working on visually interpreting sound, and it has become part of my creative process. This time I developed an instrument to create sounds while painting: Paper as a sound interface.

Technical details: Paper & Ink, copper cable, Touch Board, and Max MSP.

Presented in Musikkapelle 2020
Salonschiff Fräulein Florentine, Linz, AT

Ñawki (2019)

‘Present’ in Quechua

During the period of violence and terrorism in Peru (1980-2000), many people disappeared.

In this interactive installation, the names of those missing people are displayed on the screen, vanishing letter by letter with each key that is pressed. The more the user tries to write, the more he/she deletes the names. The keyboard is also erased: The letters were scratched until they disappeared.

This piece reflects on the importance of writing history to build memory. It seeks to display the significance of the individuals and their names as witnesses of the violent period in Peru.

Technical details: Computer with Processing and a hacked keyboard.

Presented in Sankt Interface 2019, Interface Cultures, Linz, AT

Photos by Patricia Cadavid