Martin Sulzer

Both abject through its texture and relatable in its fragility, WETWARE offers hyperreality without the common symptoms of alienation. A seemingly self-sustaining ‘organism’ is generated completely in digital through synthesis without reliance on ’real’ imagery. The resulting image is limitless, perpetually spilling outside itself. Suggesting a feed pulsating beyond a bodily surface or even any bodily context, the work examines digital intimacies while also referencing worship music in its relaxing albeit disorienting sonic composition.

How religious narratives, particularly the story of Sodom and Gomorrah, shape moral and territorial frameworks while exposing the instability of interpretation itself. By adhering to the biblical text yet acknowledging the multiplicity implied in “version,” the piece confronts the impossibility of pure transmission of divine meaning. Its motion-captured performance translates scripture into digital ritual, reflecting religion’s performative repetition rather than belief. The transformation of human movement into clay-rendered 3D data underscores both the futility and faithfulness of human attempts to reproduce the sacred, where visible imperfections become signs of humanity’s flawed mediation of a presumed perfect divine source.

This is a large projection of aerial footage that has been shot by pigeons equipped with lightweight digital cameras. With heavy wind and the nervous flapping of wings the viewer gets only a fractured impression, though immediately identifiable, of a political demonstration.

Both abject through its texture and relatable in its fragility, WETWARE offers hyperreality without the common symptoms of alienation. A seemingly self-sustaining ‘organism’ is generated completely in digital through synthesis without reliance on ’real’ imagery. The resulting image is limitless, perpetually spilling outside itself. Suggesting a feed pulsating beyond a bodily surface or even any bodily context, the work examines digital intimacies while also referencing worship music in its relaxing albeit disorienting sonic composition.

How religious narratives, particularly the story of Sodom and Gomorrah, shape moral and territorial frameworks while exposing the instability of interpretation itself. By adhering to the biblical text yet acknowledging the multiplicity implied in “version,” the piece confronts the impossibility of pure transmission of divine meaning. Its motion-captured performance translates scripture into digital ritual, reflecting religion’s performative repetition rather than belief. The transformation of human movement into clay-rendered 3D data underscores both the futility and faithfulness of human attempts to reproduce the sacred, where visible imperfections become signs of humanity’s flawed mediation of a presumed perfect divine source.

This is a large projection of aerial footage that has been shot by pigeons equipped with lightweight digital cameras. With heavy wind and the nervous flapping of wings the viewer gets only a fractured impression, though immediately identifiable, of a political demonstration.