Once I had found the EDGES, I began to LEAP.

At these digital boundaries, I turned the camera on myself, capturing my avatar staring into or suspended over the digital void. This ritual, repeated thousands of times across diverse environments, became an exploration of the unseen, the unintended, the unrendered. Each leap revealed the unique physics of the world as avatars crumpled into strange shapes or took on predictable poses of flailing or flying.

The avatar, poised at the edge of rendered space, becomes a metaphor for humanity's constant push against the boundaries of the known. The image of the digital twin set against vast, often abstract digital landscapes evokes the aesthetic of the sublime in Romantic painting. However, here the awe-inspiring natural vistas are replaced by the faux-limitless potential and void of digital space. A new form of the technological sublime, where the terror and beauty stem not from nature's vastness, but from the infinite emptiness of human-created digital realms.

The repeated act of leaping into the void takes on a ritual quality. This performance, enacted across multiple digital environments, becomes a means of marking and mapping digital space through bodily (avatar) action. The avatar stands in for our physical selves, yet its ability to defy real-world physics—floating and suspended in impossible voids—highlights the profound differences between physical and digital existence. This series explores what it means to have a body in spaces where the rules of the physical world no longer apply.