In 'Pin Cushion', a female character is projected onto a rubber cushion. Large acupuncture needles are embedded into the character's face. When the viewer touches the needles the projected woman responds and devolves. The rate at which the image changes and the instantaneous morphology, which the degrading image assumes, depend upon the following physiological properties of the viewer: electrical conductivity or resistance to electrical currents, and the latent charge of the viewer's own body. When the system is turned off the woman's face is digitally revitalised and reappears restored. A closer look though might reveal a mark or a scar -a reminder of the actions that took place the day before. The character's lifespan and well being are dictated by the collective intentions of the viewers/participants over the exhibition period. Pin Cushion follows a series of works in which I was interested to explore and test possible relations of interdependence between the audience and virtual characters within an exhibition space. In Pin Cushion the audience can gain control over the work meandering between interaction and consumption. The more you interact with the work the more you interfere with the well being of the character. The only possibility not to harm or interfere with the character, by touching the acupuncture needles, is when the participant's own electro-static level is extremely Perhaps you would rather choose to abstain and remain a spectator in order to preserve the face of the projected character? Either way the audience completes the work.