Ceria B. Teramore is an AR figure moving through reality without a body, visible only through devices. Formed from poems, AI-generated fragments, and traces of Roberta Breitmore, she appears as a collective female ghost — a presence that persists as language, memory, and shared haunting rather than a single, stable self.

I am working on a poem when a piece of red fabric washes up inside it. I recognise it as part of Roberta Breitmore’s costume, which I encountered at the ZKM in Karlsruhe — an identity that Lynn Hershman Leeson inhabited for several years, lending it her body before freeing herself through an exorcism. I begin to ask what happens to the spirit of such a figure: where does a female identity go once it has been exorcised?

I translate this question into an augmented reality work. Starting from the poem, I generate a new figure with AI, drawing on my archive of self-portraits, a hint of red referencing Roberta’s attire, and camera eyes. In AR, the figure is bodiless yet present, an added layer of memory visible only through devices — her body made of poems, spoken as a thin skin of language over space. The work treats this spirit less as a fixed person than as a collective female figure. “Roberta” becomes an open variable, a placeholder for those denied a stable identity.

Feminism appears here as a genealogy without bloodline, a mediated inheritance in which exorcised female souls are received and held by a community of women. Every woman who speaks also speaks an echo. Ceria B. Teramore — a name assembled from letters of Roberta Breitmore and extended by the initial C, in reference to Joyce Carol Oates — becomes a temporary vessel for this shared afterlife.