Utilizing machines and technology, primarily those used within office settings, such as the scanner, a handheld scanner, photocopiers, computers, and printers, Figueroa captures, stores, prints, and multiplies distorted, fragmented images of her body in an ongoing practice in understanding the contextualization of her body into foreign spaces. She aims to explore active disruptions by moving, dragging, and distorting her digitally rendered form, refusing to be reduced to a single scan. Through the means of these varying technologies, she reflects on the multiplicity of her identity as a woman of colour and the inherent resistance in her refusal to conform to normative expectations of legibility. Drawing on theorists including Legacy Russell, Donna Haraway, bell hooks, Amelia Jones, and Veronica Obenauer, Figueroa situates her work within broader frameworks of glitch feminism, and cyber tenderness. She contemplates how her brown skin interacts with technology in ways that resist commodification, embracing the glitches and distortions as active refusal of flattening. Her engagement with the scanner becomes a practice of intimacy, where each scan reveals both her body and the machine’s limitations, echoing a tension between visibility and invisibility, clarity and disruption.

When Figueroa briefly worked as a marketing coordinator in a corporate office for a local liquor store chain, she was told during her 3-month review that she was cold, unapproachable, and lacked a wow factor. Her attempt at integration into a boys' club was evidently a moot point, and the labour exerted was never quite let go. Wow Factor III is a series of performances during which Figueroa documents her experiences, stepping into a secretary-adjacent role, keeping minutes, making copies, and filing documents, all while clicking around in stiletto pumps. Evaluating the functions of gaze, stillness, pose and reduction, Figueroa aims to actively disrupt them all through her gestures steeped in irony and caricature, embodying a visually idealized submissive woman, yet simultaneously refusing to give it up. What a tease. Figueroa's interactions with technology are not about achieving clarity or legibility, but about embracing the messiness, glitches, and multiplicities that arise in the space between human and machine.

This critical engagement with systems of control and legibility continues in BusyWork III. Figueroa appears in a stark white space, dressed in stilettos, a short skirt, and a tight white blouse—clothing tied to both service work and white-collar environments. Her makeup and hair reflect the version of herself that once worked as a cocktail waitress: hyper-styled and coded for cishet white desirability. She enters the frame and begins methodically scanning different parts of her body using a flatbed scanner placed on the floor. After each scan, she stamps the scanned area with a red “APPROVED” stamp, marked with a small thumbs-up icon. By the end, her visible skin is covered in these stamped impressions. BusyWork incorporates heavy digital manipulation—layers, loops, and visual disruptions that obscure and multiply her image. Views up her skirt are blocked or redirected; multiple versions of her body appear in the frame at once.

Wow Factor III and BusyWork III function as a culmination of Figueroa’s MFA research, drawing together her sustained inquiry into labour, legibility, and the racialized body’s relationship to overarching systems of control. The work confronts the politics of visibility and control through a vocabulary of repetition and refusal.