Aziz and Cucher
Faith, Honor and Beauty, 1992
Digital manipulated portraits, with gentalia and nipples removed.
Dystopia, 1994-95
Series of digital manipulated facial portraits, with all facial cavities filled.


John Gerrard
Networked Portrait, 2003
Two 3D generated portraits, created using 3D scanning techniques, presented on flat screen monitors anchored to the wall. The viewer can move the monitors and the portraits respond to one another.

Pierre Huyghe & Philippe Parreno
Annlee: no ghost just a shell, 1999
The artists aquired "the copyright for a figure called 'Annlee' and her original image from the Japanese agency "Kworks", which develops figures (almost actors) for cartoons, comic strips, advertising and video games of the booming Japanese Manga industry. 'Annlee' was a cheap model: the price of a Manga figure relates to the complexity of its character traits and thus its ability to adapt to a story-line and 'survive' several episodes. 'Annlee' had no particular qualities, and so she would have disappeared from the scene very quickly."

Karin Sanders
1:9, 6, 2002
1:7, 7... Unlimited 2001
People 1:10, 1998 - 2001
Portraits of audience created using 3D body scanning techniques, often direct in the gallery, from which stereolithography sculptures are made at for example 1.10 ration

Prosthetic Head, 2003
Responsive, animated 3D-generated facial self-portrait. Uses AI to build upon knowledge and responsiveness


Victoria Vesna
Bodies Incorporated, 1996
Bodies are created, being pieced together, male, female, other. They then enter a larger online world in which they become avatars.

Magnus Wallin
exit, 1997
A 3D animation set in a stereotypical computer game environment, except this time the inhabitants are wheelchair bound, limbless, and struggle across the burning environment, trying to make their helicopter getway.