FACE CAGES (2013 – 2015)

tramadol online without prescription

alprazolam online pharmacy


xanax for sale

buy klonopin online without prescription

buy phentermine without prescription

buy ativan online no prescription

buy adipex without prescription

buy soma without prescription

zolpidem for sale

buy diazepam no prescription

buy valium without prescription

buy ultram online no prescription

buy ambien online without prescription

provigil for sale





















The success of today’s booming biometrics industry resides in its promise to rapidly measure an objective, truthful, and core identity from the surface of a human body, often for a mixture of commercial, state, and military interests. Yet, feminist communications scholar Shoshana Amielle Magnet has described this neoliberal enterprise as producing “a cage of information,” a form of policing, surveillance, and structural violence that is ableist, classist, homophobic, racist, sexist, and transphobic.

Biometric machines often fail to recognize non-normative, minoritarian persons, which makes such people vulnerable to discrimination, violence, and criminalization: Asian women’s hands fail to be legible to fingerprint devices; eyes with cataracts hinder iris scans; dark skin continues to be undetectable; and non-normative formations of age, gender, and race frequently fail successful detection. These examples illustrate that the abstract, surface calculations biometrics performs on the body are gross, harmful reductions.

A visual motif in biometric facial recognition is the minimal, colorful diagrams that visualize over the face for authentication, verification, and tracking purposes. These diagrams are a kind of abstraction gone bad, a visualization of the reduction of the human to a standardized, normalized, ideological diagram. When these diagrams are extracted from the humans they cover over, they appear as harsh and sharp incongruous structures; they are, in fact, digital portraits of dehumanization.

Face Cages is a dramatization of the abstract violence of the biometric diagram. Diagrams are fabricated as three-dimensional metal objects, evoking a material resonance with handcuffs, prison bars, and torture devices used during slavery in the US and the Medieval period. The virtual biometric diagram, a supposedly perfect measuring and accounting of the face, once materialized as a physical object, transforms into a cage that does not easily fit the human head, that is extremely painful to wear. These cages exaggerate and perform the irreconcilability of the standardized, neoliberal biometric diagram with the materiality of the human face itself–and the violence that occurs when the two are forced to coincide.


CAPTURE ALL, transmediale, Haus der Kulturen der Welt, Berlin, Germany

Theory of Colour, curated by Helena Chávez, Alejandra Labastida, and Cuauhtémoc Medina, Museo Universitario Arte Contemporáneo (MUAC), Mexico City, Mexico
Hemispheric Institute of Performance and Politics Encuentro, Montréal, Canada
Dakar Biennale,curated by Massamba Mbaye
Annual Showcase, Eyebeam, New York, NY

Selected Press and Criticism
Lynn Berger, “Kunstenaar Zach Blas laat zien dat surveillance meer op het spel zet dan alleen onze privacy,” de Correspondent, 2014
Müge Büyüktalaş, “Karşıt-cinsel post-internet ve tekno-gerilla,” Art Unlimited 28, 2014
Kyle Chayka, “Fight surveillance by making it visible,” Al Jazeera America, 2014
Elizabeth Joh, “From Anti-drone Burqas to Face Cages: What Artists Are Showing Us about Surveillance and the Law,” The Life of the Law, 2014
Robinson Meyer, “This Is What a Facial-Detection Algorithm Looks Like in 3D,” The Atlantic, 2014
Rebecca Hiscott, “‘Fag Face’ Mask Protests Sex Discrimination in Facial-Scanning Tech,” Mashable, 2014

Performance Collaborators: Micha Cárdenas, Elle Mehrmand, and Paul Mpagi Sepuya
3D Modeling: Scott Kepford
Photography and Videography: Christopher O’Leary
Support: Eyebeam, Techné Institute for Arts and Emerging Technologies @ University at Buffalo