long live the fle$h

Priyageetha Dia

How can the body of the Other manifest within digital materiality, recalibrate our ways of seeing? What then of the flesh?

The approaches towards the digital representation of marginalised bodies are constantly shaped and regulated through power structures within digital spaces. Through the formation of new knowledge in these spaces, it governs the types of logics and truths that are included (or excluded), made visible (or invisible), and given authority (or marginalized) across digital spaces (Elwood, 2010; Young, 2018).

“The digital sphere therein revealed to be much more like the bourgeois (White, male and colonial) civil sphere and not the political sphere…” (Chatarjee).

The ability to fully control, disrupt and decolonise the body in the digital space, even remotely as a way to virtually transcend the brownness of the self and the body beyond its corporeality. Even beyond the engagement with race, gender, class, sexuality, nation, disability, and other axes of identity that shape knowledge production.

Through the research of rethinking the body in its digital representation as a site of investigation rather than escapism. The utilisation of gold as the flesh of the ‘anonymous self’, gives agency to the reconstructed body of a ‘flat-rendered perfection’, devoid of its actual oppressed reality.

Taking it further into the account of decolonising the methods of the ‘rendered oppressed self’ – as a way to subvert the system, the computer, Internet and connectivity – the images are processed further through data moshing. The development of the flesh, body and identity results in the breakage of countless pixels and altered data structures.

Render Tests


Priyageetha Dia (b.1992, Singapore, she/her) is an interdisciplinary visual artist.

Her practice oscillates on multifaceted narratives examining representations of brownness, the digital self and cyberfemme culture. Unpacking her colloquial experience of oppression and surveillance manifesting from within and out, she simultaneously subverts and highlights the brown condition with her gold alter ego.

Amongst the exhibitions and projects that she has been part of, it includes two solo shows under Art Porters Gallery; ‘UPGRADED’ (2018) and ‘The Earth and her skin’ (2020); ‘2219: Futures Imagined’ (2019) at Art Science Museum Singapore; and ‘An Exercise of Meaning in a Glitch Season’ (2020) at the National Gallery Singapore.

In 2019, she was presented with the IMPART Award by Art Outreach Singapore.