Sharon Azagi (b. 1986) is a new media artist and a certified forensic expert in the authentication of audio, video and image evidence. Her installations extend the procedures of forensic examination toward phenomena that admit no admissible proof — the electrical activity of plants, the frequencies of the sun, the rhythm of a heart.

Solo exhibitions include A Shell of a House (The Lab, 2025), Turbulence (Alfred Gallery, 2024) and Atlas II (Petah Tikva Museum of Art, 2022). Her work has been shown at the WRO Media Art Biennale (Poland), Haifa Museum of Art, the Municipal Gallery Arsenał (Poznań) and BETONBOX (Düsseldorf). She holds an MFA from the Bezalel Academy of Arts and Design and lives and works in Tel Aviv.

I work in video, sculpture, robotics, programming, sound and cyber art. In my work I look for methods and possible encodings that would teach me how to mediate my physical body through digital worlds, drawing a parallel between bodily processes and mechanical and robotic ones. For this I mostly use building materials taken from do-it-yourself culture, and organic materials such as plants and algae.

I build systems, some physical and some computational, which take information of one kind and turn it into something else. Sometimes that information is physiological — a heartbeat, the body's measures — and sometimes it is digital, drawn from websites and search engines. These systems have the potential for eternal life. They are designed so that they can go on functioning by themselves and for themselves, without outside human help. The purpose of the process I put them through is to turn them into a breathing organism: pulsing and working autonomously and repetitively for as long as electricity runs in their veins.

The objects I make function as hybrids of the digital and the real. They breathe life into their own static bodies, and they expose the sexual and conscious force held inside matter, light, water, sound, and inside space itself.