Avispish is a character creation project using motion capture techniques. The artist uses the expression of her own face to give life to a digitally sculpted character of mixed genetics.

 

The project was born in 2022 and has been embodied 3 times so far. Its versions mutate according to the different conceptual and installation proposals of the artist and the institutions that have hosted her.

With a slightly gentle and slightly severe look, the looped faces of these creatures displayed on the screen evoke the poetic gesture a gathering of machinic affections animated by 100% human breath. A plurality of looped forms that exist only because they have been something else before.


A narrative that is constructed from the fusion of science, fiction and life and that seeks to recreate the imaginary of metamorphosis as a poetic gesture of the post-nature that we create together with living and non-living species.

“Each screen displays an animation of a head that began as a self-portrait scanned and sculpted in 3D. In a second instance, a facial capture was made to record different human gestures and thus generate a visual narrative with multiple beings conversing with each other.

The concept that surrounds this piece is the idea of metamorphosis.


We understand that life is always the regeneration of the non-living, as a loop between one realm and the other. One stage and the other. At the same time, this force allows every living being to unfold into multiple forms simultaneously, becoming a plurality of forms.”


Here metamorphosis would be the engine that would allow two incompatible bodies to belong to the same individual.  In this case, the nature of technology allows the generation of non-living beings animated by living beings. Here we can see a metamorphosis from a biological entity with tangible matter to a digitally animated non-living entity.

One of the most widespread techniques to create this type of simulations in recent times is motion capture. This technique allows through the sensing of the body, to give a human gesture to a machinic entity, in the act of making a metamorphosis where technology allows us to simulate another life without leaving our form. Unlike insects, these beings only exist on the virtual plane, but they allow us to test morphologies other than our own, conveyed by our body.


Something that cannot be ignored is that we know that the capture of data is widely used for control. Refined machines feed artificial intelligence algorithms. All capturable data is food for datasets/Machine Learning.”

Text by Joaquina Salgado 

”AVISPISH is a multi-screen artwork featuring animated heads that have been sculpted from various individuals' facial captures. Each screen displays a different head with a range of facial expressions, creating a visual narrative of conversations. The artwork explores the theme of power dynamics and how individuals experience them differently based on their personal histories and cultural backgrounds. It also touches on the impact of digital control and the lack of data privacy on our sense of intimacy. Through anonymous storytelling, Avispish aims to convey personal experiences of these themes in an unusual way. “