We are rapidly entering a posthuman era of artificial life, one in which the role of our bodies and minds and their relationship with the physical and information environment will undergo far-reaching and profoundly impacting changes. The boundaries between art, engineering, the human body and the sustainability of our species are evolving rapidly towards a unified ecosystem of what can be considered a conscious and collective mind. Technological change has become a central component of human identity, so much so that our imaginations and environment are shaped by it completely.

This piece, titled Hiding, is set in the metaphorical wilderness of the posthuman condition. It can be seen as a window into a fantastical world, or a possible memory, future, or virtual consciousness. The performance, narrative structure and production of the piece has been the result of an artistic collaboration in which a series of unfolding and related events have been staged and documented.

In the woods (a seemingly natural, fragmented, and multi-sensorial environment), a half-human, half-soft-shelled organism is planting new life. She is one of the creatures that survives in this world, and through her actions empty fields are transformed into forests. The result is a modified environment of new organisms and plants, each contributing to the proliferation of an artificial balance.

The woods become a place in which sounds are created from animate shadows of machines and unfamiliar vegetation that are unnatural, a product of the world and her own lost identity. The creature retains some qualities of the human; her response to the sounds of the machines is a frightened attitude, and she hides within her “skin.” Hiding becomes a way of survival from a cyclical process that is no longer natural.

Organisms such as this are no longer the result of a natural evolution, but come from a place where autonomous mutants have surpassed the formal characteristics originally given to the human body. As our world has become increasingly manipulated, it is now impossible, and indeed largely irrelevant, to distinguish between “natural” and “artificial” evolution. Life itself, once believed to be solely the product of natural (or supernatural) causes, has become a technological target for the advancement of humanity.

Eva Rorandelli (born in Florence, June 17 1977) is a contemporary Italian artist, video producer and model. She has appeared in magazines including Flare, Vegas, Brides, Vanidades and worked in the production of videos and films for Paris Fashion Week, Vendôme Luxury events in Paris, and other venues in Paris and New York. Her video performances have shown in galleries and museum exhibitions internationally and have been described as evocative, disturbing, and empowering examples of post human art. She lives and works between Florence and New York. See Eva Rorandelli Model portfolio @ New York Best Models

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