SPIRA9Art

The Digital Other Within

Hanbing Fang

Clara Voss

he tension between the live space and the screen image is not incidental—it is the heart of the work. The piece challenges the viewer’s sense of spatial and psychological coherence, evoking both fascination and discomfort.

Fang’s interest lies in the unstable relationship between identity and embodiment in the post-human era. Drawing from feminist theory and digital ontology, Illusive Lover questions how subjectivity is fractured, reproduced, and looped through mediated systems. Her “illusory lover” is not merely a digital alter ego, but a reflection of how selfhood is constantly performed, simulated, and surveilled. The viewer, in turn, becomes part of this loop—both witness and participant in a digital intimacy that resists resolution.

The Digital Other Within

Hanbing Fang

Clara Voss

he tension between the live space and the screen image is not incidental—it is the heart of the work. The piece challenges the viewer’s sense of spatial and psychological coherence, evoking both fascination and discomfort.

Fang’s interest lies in the unstable relationship between identity and embodiment in the post-human era. Drawing from feminist theory and digital ontology, Illusive Lover questions how subjectivity is fractured, reproduced, and looped through mediated systems. Her “illusory lover” is not merely a digital alter ego, but a reflection of how selfhood is constantly performed, simulated, and surveilled. The viewer, in turn, becomes part of this loop—both witness and participant in a digital intimacy that resists resolution.

The Digital Other Within

Hanbing Fang

Clara Voss

he tension between the live space and the screen image is not incidental—it is the heart of the work. The piece challenges the viewer’s sense of spatial and psychological coherence, evoking both fascination and discomfort.

Fang’s interest lies in the unstable relationship between identity and embodiment in the post-human era. Drawing from feminist theory and digital ontology, Illusive Lover questions how subjectivity is fractured, reproduced, and looped through mediated systems. Her “illusory lover” is not merely a digital alter ego, but a reflection of how selfhood is constantly performed, simulated, and surveilled. The viewer, in turn, becomes part of this loop—both witness and participant in a digital intimacy that resists resolution.

Bissy Riva’s Forest of Meaning

Bissy Riva’

Clara Voss

Rendered in oil on a tall wooden panel, the work is physically commanding—over two meters high—and emotionally immersive. Riva’s brushwork is deliberate but never static. Her lines twist, fold, erupt. Color is used not just to construct space, but to charge it. Flame orange crashes against deep cobalt; acidic greens pulse alongside muddy reds. Each shape seems alive, leaning into or pulling away from the others, like foliage, or spirits, or memories.

Bissy Riva’s Forest of Meaning

Bissy Riva’

Clara Voss

Rendered in oil on a tall wooden panel, the work is physically commanding—over two meters high—and emotionally immersive. Riva’s brushwork is deliberate but never static. Her lines twist, fold, erupt. Color is used not just to construct space, but to charge it. Flame orange crashes against deep cobalt; acidic greens pulse alongside muddy reds. Each shape seems alive, leaning into or pulling away from the others, like foliage, or spirits, or memories.

Bissy Riva’s Forest of Meaning

Bissy Riva’

Clara Voss

Rendered in oil on a tall wooden panel, the work is physically commanding—over two meters high—and emotionally immersive. Riva’s brushwork is deliberate but never static. Her lines twist, fold, erupt. Color is used not just to construct space, but to charge it. Flame orange crashes against deep cobalt; acidic greens pulse alongside muddy reds. Each shape seems alive, leaning into or pulling away from the others, like foliage, or spirits, or memories.

Blandine Martin and the Textile Poetics of Time

Blandine Martin

Clara Voss

textMartin writes that her textile landscapes “weave together memories, sensations, and inherited narratives,” reimagining the connection between body and land through color, texture, and form. In this, she echoes a long lineage of feminist and fiber-based practices—yet her voice remains singular. Where some artists shout, Martin listens. Her work does not impose; it invites.

“These sculptural forms serve as tangible echoes of the past,” she writes, “preserving traces of her life through materiality and process.”

Blandine Martin and the Textile Poetics of Time

Blandine Martin

Clara Voss

textMartin writes that her textile landscapes “weave together memories, sensations, and inherited narratives,” reimagining the connection between body and land through color, texture, and form. In this, she echoes a long lineage of feminist and fiber-based practices—yet her voice remains singular. Where some artists shout, Martin listens. Her work does not impose; it invites.

“These sculptural forms serve as tangible echoes of the past,” she writes, “preserving traces of her life through materiality and process.”

Blandine Martin and the Textile Poetics of Time

Blandine Martin

Clara Voss

textMartin writes that her textile landscapes “weave together memories, sensations, and inherited narratives,” reimagining the connection between body and land through color, texture, and form. In this, she echoes a long lineage of feminist and fiber-based practices—yet her voice remains singular. Where some artists shout, Martin listens. Her work does not impose; it invites.

“These sculptural forms serve as tangible echoes of the past,” she writes, “preserving traces of her life through materiality and process.”