The Digital Goddesses evoke the figure of the Goddess rooted in the feminist art of the 1970s.
These spiritual power figures, made from recycled technological objects, embody an ecological awareness of our Anthropocene era.
Anderson aligns objects coated with paint and her own body on the canvas, expressing the idea that the materiality of objects made of particles are beings in their own right. Rather than ‘using’ objects to create, Anderson puts herself at their ‘disposal,’ shifting her perspective and transforming her relationship to the world.
She aligns with the theories of physicist Karen Barad, who asserts that everything is alive, vibrating, and that the inanimate is not ‘dead.’ All beings—rocks, rivers, molecules, particles, and other entities—engage in intra-activity. Matter, according to Barad, is an ‘active substance,’ not merely a thing but an ‘actant’.