Meshing together the organic and technological, her Seeping Out series explores the relationship between the physical and the virtual in a 2D form. Feeling like a digital simulation, she makes digital materials physical by glitching natural elements. Capturing jagged glitchy motions, looking as if technology is interrupting reality, her work reflects upon the entangled and co-dependent nature of people’s relationship to the online world. Glitches, connoting error, mystery and the unknowable, appearing in a natural setting feels like the virtual is creeping into reality, heightening our awareness of constantly being online. in this series, she also investigates how computers understand and perceive reality, translating these digital interpretations into a fragmented mixture of abstracted colour and texture. She does so by creating a digital simulation of abstracted hydrangeas and other plants, merging and morphing them together. This series is produced is a very laborious practice. Sian creates these pieces using a process called photogrammetry, which is a method of 3D scanning objects using photography. She starts by taking lots and lots of photos of a flower or botanic, before using photogrammetric software to stitch the images together, creating a 3D model. This 3D file consists of two elements, the shape and form of the model and the texture and colour. For Seeping Out, she takes this texture file and digitally deconstructs and reassembles it into a new image. She repeats this process, and then takes these new images into video editing software, using digital transitions to morph one image into another. She takes a new still of this moment, where one image becomes another image; where the two begin to seep and mesh together. These meshed stills are then digitally layered to create the final work, which constitutes the culmination of over 100 layers of digital imagery.