Inspired by Malevich's Black Square, this series uses black plexiglas squares to symbolise the digital void—the black screens we engage with daily.

The series features coloured vinyl-covered discs, reminiscent of vinyl records, to highlight how our identities and data are "recorded" and "played back" in the digital realm. This vinyl aesthetic evokes nostalgia and tangibility, contrasting with the intangible nature of digital data. The small metal standoffs in the centre of the large discs reinforce the connection to vinyl records and turntables, allowing the discs to rotate.

Natasha's use of materials is intentional. The vinyl sheets covering the discs not only connect to the aesthetic of vinyl records but also serve as a metaphor for the layers of identity that are both revealed and obscured in the digital age. The decision to use plexiglas, a modern and versatile material, reinforces the contemporary context of the work. Glass is a continuity of past works exploring her theme of presence in absence which used sand, adding depth to her conceptual framework.

The work prompts viewers to reflect on how digital immersion impacts our sense of self. The juxtaposition of tangible vinyl with ephemeral digital data underscores the loss of material joy and presence. As we become more engrossed in the digital world, our connection to the physical diminishes, leading to a homogenised, surveilled existence.

Through Out of Touch, Natasha encourages contemplation on the subtle yet profound effects of digitalisation, urging a balance between our digital and physical lives. The series serves as a critique of our times, questioning the cost of our digital dependencies. By integrating the theme of presence in absence, Natasha invites viewers to consider what is lost as we become more intertwined with digital technology, and to reflect on the importance of maintaining a tangible, physical connection.