The video refers to the history of “spam,” an acronym derived from the words spicy and ham—a square can of meat that first rolled off the assembly line 80 years ago during the Great Depression. George Orwell, in his novel 1984, described spam as “slices of pink meat,” a phrase that later gave the word a new connotation: something disgusting but inevitable.

Canned spam became a symbol of mass consumption and one of the most widely used food products of its time.

Drawing a parallel between spam messages and cyberattacks that pollute both the user’s virtual space and their physical home, the artist investigates the experience of modern life within an increasingly unsafe digital environment. As one of the most underestimated experiments in human-machine interaction, this navigation through digital systems repositions the attacked user’s address as a kind of “home” for impersonal machines.

In a world oversaturated with information noise, the “consumer” is constantly targeted—driven by software-generated appetites for money, manipulation, and trust. These actions, repulsive yet inevitable, form the foundation of not only human-machine relationships but also the broader structures of economic and political systems.

The video depicts digital sculptures and figurines projected in constant motion and transformation. These forms are generated from fragments of spam messages, evoking a “canned” mass of digital waste composed of trends, memes, and blog fragments. Blending seamlessly with the fashionable, curated interiors of modern domestic life, the work reflects on the aesthetic and psychological saturation of the consumer’s space.