Obfuscation Strategy Studies

While the series comprises of portraits exploring the possible shapes a human body can take

and how these can be choreographed for representation, it is at the same time playing with the

recognition of deformed human shapes. This experiment in deformation and its effects on

recognition is inspired by the intentional obfuscation inherent to human relations and identities

various levels of abstraction.

In face-to-face relations, some people always act happy to hide their true emotions, or behave

according to some kind of role to not tell anyone what they are really thinking about. While

online, some people use ad-blockers, high privacy web browsers and fake social media accounts

to avoid being detected by governments and corporations when surfing online. Special

sunglasses are available for avoiding recognition by CCTV algorithms. Attuned to these forms of obfuscation, I set out to look for a new aesthetic pertaining to deformation of human body. I chose a nude-coloured layer as second skin in order to keep the subject’s identity ambiguous in terms of ‘human’ versus ‘object’: simultaneously familiar and alienating.

I wanted to test the limit after which the (re)representation of human body is no longer

recognised, while simultaneously developing a minimal type of deformation necessary for

bringing out new aesthetics from standard human shapes and postures. I placed the body inside

a semi-transparent second skin, and inserted basic shapes made of styrofoam between the body

and the second skin. The transparency of the second skin is important: I wanted to also show

the objects under the skin, representing the true emotions, anxieties, worries, secrets, and other

things we sometimes want to leave undetected for the sake of protecting ourselves, staying calm

and carefree, but which nevertheless shine through.



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