20. 1997 Touch NYU/MIT NY/Boston

We perform in NY privately, as people watch four huge closed-circuit streamed web projections on translucent screens of us at the List Gallery. The camera moves from our eyes to our mouths to our hands to the work, as I sculpt Emily drawing me. The female gaze is accepted as observation in the artmaking process. The cameras establish a rhythm with their movement; they record the physical process of perception and representation. Eyes move to observe and record, mouths move involuntarily, hands move to coax form out of media, and the work records the materialization of the process. Through observing another we discover ourselves, and as the piece progresses each artist appears on the opposite screen, in the hands of the other. This process is heightened by our awareness of unseen Web voyeurs, who observe us remotely.