● ● ● Selected Works

01 Cybernetic Ecologies: Generative Currents and Permeable Thresholds

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Degree show at Trinity College.

Trinity College Dublin, September 2026

Cybernetic Ecologies: Generative Currents and Permeable Thresholds is a data driven, hybrid installation, utilising real-time local weather data, feedback loops and interactive technologies in order to recontextualise posthumanist ideologies through a cybernetic lens within the digital era. Primarily this line of inquiry is concerned with embodiment and the hybridisation or dissolution of otherness dividing the digital, the self and the environment, by means of understanding surfaces, specifically our landscapes, as informational patterns and positioning the skin as a membrane where data resides.

In a thorough exploration of rhizomatic networks, this work explores the fluidity and interconnectedness existing between human and non-human systems, drawing parallels between data infrastructures and native plant species rooted in Irish Folklore as signals of The Otherworld. This inquiry contextualises the relationship between them and their surrounding environments as a cybernetic system in itself. Developing upon this speculative approach in reconciling cybernetics and posthumanism, Cybernetic Ecologies examines the landscape as a prosthesis of memory, extending both human and machine consciousness to become embedded within the natural environment, facilitating the emergence of one larger ecosystem, a networked reality produced by ubiquitous data flows.

Exhibition Text Here

02 Surveillance Intimicies: A Rehearsal

A Collaboration with Alba Molina

ATRL, Trinity College Dublin, April 2026

surveillance intimacy ~ a rehearsal explores surveillance as a condition of visibility rather than a system of control, positioning light as a mechanism that produces reality instead of merely revealing it. The installation bridges boundaries between natural and technological environments, creating a layered infrastructure where hybrid and digital networks refract and distort one another. surveillance intimacy ~ a rehearsal embodies both surface and depth, producing after-images and ghost reflections that play with perception and spatiality.

The space is moulded through rhizomatic connections, fluid elements underpinning and revealing the materiality of the spaces surveilled. Drawing on the notion of spectacle and performativity, the work reflects on how surveillance produces self-awareness and alters behaviour, while also engaging with world-making through sound and perception.

Inspired by Ursula K. Le Guin’s conception of speculative worlds and Salomé Voegelin’s understanding of sound as a generator of experiential reality, the installation proposes surveillance as an ambient ecology – an echo moving between bodies, environments, and signals – postulating lived realities beyond our own. Here, shadow becomes a space of emergence, and light becomes the agent that stages reality itself.

03 RECURSIVE!

Recently shown at Outset Gallery, February 2026
Previously: Flux Gallery and Studios 2025
The Complex 2025

Recursive Environments navigates the natural landscapes that lie within the digital sphere, blurring the lines between utopian and dystopian ideologies. The work exists as part of a wider, ongoing inquiry that utilises recursive feedback loops to explore the way in which the relationships between human beings and the natural world have evolved to adapt in the age of digitalisation. Recursive Environments builds and develops upon my previous research inquiry in relation to virtual environments and hybrid ontologies in order to examine them within the context of cybernetics through a posthumanist lens.

Featuring excerpts from Michael Heim’s The Metaphysics of Virtual Reality embedded into the text code of the raw images used to construct 3D photogrammetry models of digital forest environments, this moving image piece examines the implications of total immersion in the cyber world and the hyper-real experience of synthetic phenomena in virtual spaces.

Influenced by the idea of conceptual scaffolding in relation to the subconscious process of perception and active perceptual construction of our external stimuli, both natural and digital, concrete blocks are used to support a screen, referencing the foundations of these processes, highlighting how they inform our experience of the work itself. With ivy creeping out from beneath the screens, a connection is made between the invasive species that envelops everything in its path and the manner in which the digital world has seeped into every element of our existence as we finalise our descent into the era of ubiquitous computing.

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Recursive Environments was first shown at The Complex in “Synthetic Artefacts” a show curated by Aisling Phelan. ‘Synthetic Artefcts’ explored the traces of existence - human, technological, and mythological - preserved in hybrid forms. The show, featuring works by Aisling Phelan, Aoife Ní Dhuinnín, Mollie Mia Murphy and myself existed together at the intersection of past and future, reality and simulation. They challenge us to consider what is real, what is constructed, and how our digital afterlives will be remembered.

04 OFF GRID

R ecently shown at Outset Gallery February 2026
Previously: Flux Gallery and Studios 2025
The Complex 2025

OFF GRID is a response to the disorienting provision of multiple hypothesis for what this hybrid mode of being could entail through a phenomenological lens by examining the anatomy and ontology of digital objects and representations. This piece explores the passive act of both the mapping and realisation of the self through ones surroundings, extending across the virtual world as well as the physical one. The work features unwrapped texture maps printed onto fabrics, taken from 3D scans of the rural areas that have shaped my own self, as well as screenshots of texture maps taken from a rocky terrain within a CGI environment created in blender, echoing the eerily nostalgic feel conveyed from the gentle glow of a screen.

My current interest lies in how these texture maps exist and intersect with the physical world, examining the cross contamination of the real and digital elements that have acted as the foundations in constructing the self and the subjectively lived experience while comparing this to the contemporary discourse surrounding the phrases “chronically online’ and “touching grass’ in the impending wake of ubiquitous computing in a post-internet world.

Specifically this inquiry has started to focus on the implications associated with existing across three separate ontologies, constantly oscillating between the cyber sphere, while existing within our own psyche and physical bodies constantly constructing our own realities. The lived experience, has become an augmented experience, as well as a fluid, multifaceted one, constantly evolving and updating in response to technological advancements .

04 Media Archaeology- Tech Mining Workshop

Gallery USANII,
France 2024

During the summer of 2024 I went on a residency ran by Benjamin Gaulon and Dasha Iliana, “ No School Nevers” in Burgundy, France. During this time particpants engage intensely with both software and hardware, working wth arduinos, creating synths, hacking and creative coding.

This collaborative installation emerged from a residency centred on playful experimentation and performative interaction with discarded technology. Engaging with fellow artists, the project critically explored the mounting crisis of electronic waste and the ethical challenges posed by rapid technological turnover. It sought to reframe obsolete devices not as garbage, but as material for creative reuse, proposing alternative, sustainable pathways for working with tech.

The piece invites viewers to reconsider the afterlife of electronics, championing a shift from extractive consumption toward repair, repurposing, and circular design thinking as responses to the global environmental impact of digital waste.

05 Prosopon

NCAD Degree Show
June 2024

Prosopon explores the evolving concepts of reality and perception in the digital age. The virtual world and portrayal of synthetic phenomena increasingly inform our understanding of the real world, facilitating the emergence of integrated realities. This work examines how natural elements collide with virtual systems, driven by the information we feed them, producing a dynamic hybrid entity.

Interface stems from Prosopon, which in Greek suggests two opposing faces, creating a relationship that exists as a third evolving entity based on a continuous exchange of information. Additionally referring to the incomplete metamorphosis of an organism and the augmentation of a being by means of an external force, Prosopon is materialised in each form throughout this work.

Using feedback loops and 3D models of real and virtual natural environments, Devereux cultivates an immersive interactive experience in which the viewer and the computer collaborate to create a digital representation of a hybrid organism.

https://2024.ncad.works/graduates/serena-devereux

06 Constructed Realitie

Browser-Based Artwork,
2022

Constructed Realities closely examined the fragility of reality and the way in which our consciousness actively constructs each individuals subjective reality. The sensory information that is materialised in the form of visual representation is consistently analysed, examined and structured by our subconscious in an effort to interpret their surroundings. We have no direct access to reality and the world beyond the body, instead our brains constantly predict and use prior information to generate a number of structured hallucinations, before selecting the most accurate representation of the surrounding environment and discarding the rest.The mere process of perception is more so one of filtering and interpreting rather than just receiving information directly from the external world. This piece begins at an external viewpoint, flickering through multiple scenarios and numerous appearances while the viewer is promoted to enter the main space. This metaphysical space is composed of fragmented landscapes lying within the mind where all the forgotten, discarded, non-accurate realities of objects and places reside, embedded across scans of my own eye mapped on to untethered terrains.

These ruins scattered across this unique landscape metaphorically channel the same disintegration and impermanency of these possible reality representations, the breakdown and decay of reality scenarios that were not accurate and subsequently forgotten in order to re-evaluate the space.The second accompanying piece attempts to offer an insight into the process of constructing the reality of a space, the environments morphing, colliding and disintegrating in the process of interpreting new sensory information.