As I look at these girls whose faces are invisible, three things emerge. The first thing is that they try to respond to different fantasies and situations with their (minimal) clothing. Second, their faces have been cropped by the artist. (Does he want to keep these faces to himself or does he really just not want to use them in the exhibition?) The third is that the moments when these women touched their keyboards are frozen in the images. Tuncay manages to capture and turn on its head the means of distribution that is specific to the industry of sex online, subverting its very “touch.” Tuncay reminds viewers that the women that we see through their webcams are technology users and you access their images through the keyboards that you touch. In other words, although these touches and their appearences are titillating, the situation itself is machine-like and it is far removed
from skin contact. Both parties only feel the surfaces of their mouses and their keyboards; the only thing that they touch is their own bodies. The situation that is being described in these images holds no information about life that continues behind closed doors. The sound of the laundry machine, the neighbors arguing, the smell of food... We don’t see any of this nor do we feel any of it. It’s just you, me, and the Internet connection.