A prodigal daughter returns to a virtual home.

This is the premise manifested in Shiri Chaia

Sandler's work. With no immediate surviving female relative, she sets on an epic journey for the
liberation of knowledge from its guardians, exposing the familial with the archetypal, the mythical
with the rational thus allowing the creation of new (communal) constructs. (In a fascinating manner,)
She studies behavioral, optical and digital patterns utilizing as well as defining the body as an archive
for sensory information mediating between virtual and material.

This process makes the NET subject matter, as well as the WEB – according to Hakim Bey's
definition in his publication T.A.Z. Making the cybernetic sphere an arena for new forms of expression,
where the NET is key term for grid media structures and the WEB consists of inhabitants of the net,
seeking to form temporary autonomous zones for operation, between the cultural and the political.
This medial sphere suggests active participation on behalf of the artist and the user, where the term
“user” replaces the term for “viewer” and interaction replaces gaze politics in this ever shifting
dynamic power structure. The old P.O.V. (Point Of View) Becomes the new P.U.V. (Player User
Viewer).

The importance of obtaining information is key to achieving a position of power in this new
dynamic. In the described scenario, information is factory – the place of birth of facts – and is governed
by a masculine majority. The artist travels along a path of historical, mythical, physical and virtual
grids and uncovers stories that will reclaim her space in that world, traveling the world wide web.

A cyber sexual, the female views taking sperm from the male as stealing information
or repeating the Eden act of seduction from tree of knowledge. This act replaces the hereditary
transference of knowledge from mother to child since the natural process has been interrupted.