The sculptural video installation explores the tensions involved in the post-human feminised cyborg: what ‘labour’ produces post-human technologies, and what discrepancies arise from cyborgian future speculation. In particular my research focuses on the gendering and orientalising of machines, from an Asian diasporic perspective.

In Donna Haraway’s 1985 A Cyborg Manifesto she states ‘The cyborg is a condensed image of both imagination and material reality, the two joined centers structuring any possibility of historical transformation’. Nearly 30 years after her publication, this assemblage of the post-human subject is still intertwined in today’s power disparity. Moreover, its ‘multiglobal, intersubjective, institutional components’ are intentionally hidden (Hilary Bergen, 2016). For example following the discovery of silicon semiconductors in the 1970s, the modern computer industry which carried cybernetics into homes around the world was founded. This field of production proliferated in the 1980s Silicon Valley, with migrant women being the predominant workers within this extremely toxic field.

The production of technology bears histories of women and migrant labour. This system of labour exploitation signifies the irony of today’s society: the exploited bodies producing the new cyborg assemblage are the ones being rendered invisible in the final product, and ultimately these bodies are being automated away by machines.

‘I’d Blush if I Could’, 2017, 210 cm x 147 cm x 40 cm, metall, screens, videos, digitale- prints, acrylic Nails