Kate Cooper

Infection Drivers
Infection Drivers (2019) explores the body under attack. In this work, a CGI figure struggles to move and breathe in a translucent suit, which takes her body through transmutations of stereotypically masculine and feminine physiques as it inflates and deflates. In a time of increased public surveillance through facial-recognition software and biometric data  mining, Cooper’s high-definition world invites us to investigate and perhaps find freedom in the technologies often used to constrain us.


Гибрид потребительских ассоциаций, начиная от глянцевой иконографии телерекламы и бесплодной графики видеоигр до яркости плаката универмага и запаха только что открытой косметики, создает подсознательную приманку. Ее использование технологии CGI в своей художественной практике превосходит простое изучение цифровых текстур (подумайте о ностальгических сбоях), чтобы занять полноценное, гиперреальное пространство, обычно предназначенное для корпоративных гигантов в рекламе или развлечениях.


A hybrid of consumer associations, ranging from the glossy iconography of the TV commercial and the sterility of video game graphics to the luminosity of the department store poster and the smell of freshly opened cosmetics, create a subconscious lure. Her use of CGI technology in her artistic practice surpasses a simple study of digital textures (think nostalgic glitch-making) to occupy a full-fleshed, hyperreal space, usually reserved to corporate giants in advertising or entertainment.

Universal Everything

Transfiguration (2020)
Transfiguration (2020) is a reworking of the Universal Everything studio classic from 2011, The Transfiguration. The Transfiguration was first shown at the studio’s first major solo exhibition Super-Computer Romantics at La Gaite Lyrique, Paris. Now completely remade using the latest procedural visual effects software, the updated CGI artwork brings new life to the ever-evolving walking figure, with a new foley-based soundtrack by Simon Pyke.