西班牙藝術家瑪麗亞的作品《數位之殤（與凍結影像）》以一位女性的頭像經歷了許多波士尼亞共同的哀痛，自戰爭、孩童戰爭、集中營、莫斯塔爾的圍城、斯雷布雷尼察大屠殺、修女、性侵案件等。以谷歌搜尋引擎做為索引，瑪麗亞在作品中將網路搜尋到的圖片以條狀覆蓋在女性頭像之上，如同朦朧又深刻的傷痛般，反覆地在每次搜尋中再經歷一次回憶的苦痛與凌遲。

瑪麗亞的作品探討了人、科技物與自然之間的關係，進而思考無處不在的數位科技是如何重塑我們的過去與未來敘事。作品穿插交匯不同的時間軸線與不同的記憶系統，挪用後設小說的方法學和工具，引導思考作品與現實之間模糊的主觀邊界，進而有意識、有組織地探討作品本身的虛構性。

The artwork, Digital Trauma (And the Crystal Image), by the Spanish artist Maria employs a female head to experience the grieves shared in Bosnia, from wars, children in war, concentration camp, the Siege of Mostar, Srebrenica Massacre, nuns, to rapes. Using Google Search Engine as the reference in the work, Maria covers the female head with the graphs found on the Internet in stripes like the agonies that are opaque and poignant, as it goes through the pains and suffering over and over again in each search.

The work of Maria probes into the relationships among man, technological entities, and nature, so as to contemplate how the omnipresent digital technology has reshaped our narratives of the past and of the future. The work interweaves different axes of time and systems of memory, appropriates the methodology and tools employed in metafiction, and guides the thinking over the blurry subjective border between the work and reality in order to consciously investigate the virtuality of the work itself in an organized manner.