Product Line is a triptych that frames the female body as inventory within a media-saturated marketplace. Across three panels, a series of women are marked with barcode tattoos, each figure positioned as if prepared for scanning, sorting, and sale. The barcode functions as both symbol and system: an identifier that reduces complexity to data, turning personhood into something legible only through price, category, and ownership.

Behind the figures, television screens glow as a constant backdrop, suggesting the machinery that teaches the audience how to look. The screens operate as a chorus of curated images, reinforcing the standards that make commodification feel normal, even desirable. In this environment, the gaze becomes transactional, and identity is shaped by what can be displayed, consumed, and replicated.

The triptych format emphasizes repetition with variation, echoing manufacturing logic and assembly-line rhythm. Each panel reads like a different stage of the same process: branding, display, and distribution. Product Line confronts the overlap between entertainment, advertising, and surveillance, asking where autonomy ends when bodies are treated as products and media becomes the instruction manual for how to value them.