Avispish is a piece initially created to be displayed on multiple synchronized screens.

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.

If any creatures know what metamorphosis is all about, these are the insects. Let's take wasps as an example. If we compare their morphology in their larva stage and in their adult stage, we could think that they are two different species. Thus, metamorphosis for these organisms implies that within the same life line, they will end up going through multiple experiences. These beings have the capacity to contain diverse forms over the course of their existence.

In this same way, human life unfolds upon its imagination to create technologies that allows it to expand and become something else that is in turn part of itself. Techniques, procedures and designs are refined to exist in a different place, with a digital body embodying an avatar.

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.

In this context, I ask myself: What does poetry say about facial capture?

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.