In Blind Spot, I subject myself to continuous tracking and localization through Google Timeline, based on a conscious consent to daily surveillance. The coordinates collected over a period of three months are translated into abstract lines in space, with my intervention in the selection of color, timing, and background. All references to the physical world are removed from the mapping—there are no borders, roads, or landmarks. What remains is a distilled movement set against a black background, with time functioning as the sole anchor connecting the mapping to the physical body.

The work positions my body simultaneously as subject and measured object within a surveillance system that does not restrict movement, yet continuously learns, analyzes, and accumulates intimate, biographical, and bodily data. I move between cooperation and critique, between submission and attempts at disruption, feeding the system partial or missing information in order to destabilize its mechanisms of vision andב control, as well as my own perception of vision.

Structurally, the video operates within a moving time window of seven full days—a weekly loop in which each new minute erases the previous one. Within this process, zones of complete data absence appear: moments in which the body was present, yet the system failed to measure it. These failures constitute a central point of interest in the work. The sound is a system-based soundscape composed of low frequencies and localized motion responses. Together, image and sound expose an everyday regime of vision in which the body is both the source of information and the subject under examination, inviting the viewer to consider their own position within similar systems.