Lucy Mochi and Lena Polanski exemplify a new mode of artistic production where materiality, code, and embodied experience co‑alesce into a shared, distributed authorship. Their solo practices already interrogate the limits of kinetic and data‑driven media; together they construct a critical platform that destabilises linear temporality, challenges the invisibility of surveillance, and foregrounds collaborative agency. By mapping their visual lexicon, methodological approaches, and theoretical resonances, this paper contributes to a deeper understanding of how contemporary artists can negotiate the post‑digital condition while foregrounding ethical and political concerns.
Lucy Mochi and Lena Polanski exemplify a new mode of artistic production where materiality, code, and embodied experience co‑alesce into a shared, distributed authorship. Their solo practices already interrogate the limits of kinetic and data‑driven media; together they construct a critical platform that destabilises linear temporality, challenges the invisibility of surveillance, and foregrounds collaborative agency. By mapping their visual lexicon, methodological approaches, and theoretical resonances, this paper contributes to a deeper understanding of how contemporary artists can negotiate the post‑digital condition while foregrounding ethical and political concerns.