“In February 1997, Wohlgemuth had the surface of her body scanned and digitized. For the following eight years, she used that data to represent her body using a variety of digital outputs, including strings of numbers, wire frame and surface renderings, web-based VR, and 3-D objects generated via stereolithography. As a result, Wohlgemuth’s own body becomes a site of presentation, restoration and alteration. These multiple forms of her corporeal body constitute different portraits or avatars of the artist, each with its own identity, personality, and history, exemplifying the malleability of selfhood when the self consists of zeros and ones.” [1]

[1]: Edward A. Shanken, Art and Electronic Media (Phaidon, 2009)