Description
Critically, HERSOID isn’t just critiquing surveillance; he’s dissecting our complicity in aestheticising it. The art style is seductive—textured, humane, and comforting in its retro charm—yet it’s interrupted by the flat, lifeless geometry of the surveillance overlay. It’s almost a joke, but not a funny one. The incongruity lays bare the absurdity of applying cutting-edge surveillance to people who, in their own time, represented self-sufficiency and freedom from central oversight.
There’s also something quietly tragic here. This farmer, anonymous in history, now has a digital identity imposed upon him. He’s been databased, labelled, transformed into a unit of information. It’s a reversal of dignity—the kind Greenberg might say flattens the figure, both formally and ideologically.
