Through the use of computer-generated technology, Cooper's characters function both as objects and as infrastructure. Presented as harbingers of affect; these fictional liminal bodies are presented as forms of weaponry with which to unpick and reject contemporary modes of exploitative labour. These CG figures, with their ability to withdraw and hijack representation, are positioned as tools with which to negotiate our own understanding of the bodily effects of capitalism. 

Cooper’s films, images and installations present the body ambivalently as both communicator and site of conflict.  Though inextricably linked to methodologies of digital image production, Cooper consistently reminds us of the fleshy potential of the bodies she creates. Cooper's work draws on the biological logic of inoculation, the infecting a host with virus with the aim of generating antibodies to destroy it. Perfect, injured and decaying, her bodily ciphers endlessly produce themselves on loop - a cycle of production and destruction, of latent powers and hidden potentials.