Linda Dement (born 1960 in Brisbane) is an Australian multidisciplinary artist, working in the fields of digital arts, photography, film, and writing non-fiction.
In "Bloodbath" (2010) at October 2010, Hordern Pavilion, Sydney, Australia, artist Linda Dement worked with five artists, [Francesca daRimini], [Nancy Mauro-Flude], Kate Richards, Sarah Waterson with the Sydney Roller Derby League in a creative development and beta testing of a live event where each artwork responded to live incoming data from collisions in a [Sydney Roller Derby League], all-girl flat track roller derby game to explore art through human collision and sport.
Sensors attached to players headgear sends that data to a server to create a digital artwork, developing the work literally blow-by-blow!
"[8] Dement's work has been described as depersonalised autobiography,[9] that is, an appropriation of the digital as a space of expression, or a "rupture" in the info-tech dominated sphere of computer culture.
"[11] Cyberflesh Girlmonster (1995) CD-ROM by Linda Dement, made from donated body parts collected during Artists' Week of the Adelaide Festival 1994 to construct the computer based interactive work.
The work is a macabre, comic representation of monstrous femininity from a feminist perspective that encompasses revenge, desire and violence V2 featuring Cyberflesh Girlmonster.
Typhoid Mary was taken to the NSW Parliament as being "obscene" and subsequently came under the classification of the Australian Government's Office of Film and Literature as "not suitable for those under the age of 18."
[12] Stephen Wright (2013) claimed Dement's work exemplifies "The politics of trauma – of what it means to struggle into identity, to carry childhood and the world, and its baleful interiors into that weird shifting space called adulthood and a supposed responsibility – is the politics of the ways in which that trauma is hidden, or re-directed, cathected to the consumer paradise or fused with cyberspace...And the reason why, as another critic has said, we don’t so much look at Linda Dement’s work as give it our 'fretful attention' is perhaps because it’s the end of the road.