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Gonsalves' (http://www.tinagonsalves.com) creative investigation integrates Art, Science and Technology. For over a decade she has used video, painting, animation and interactivity to explore complex emotional landscapes. Rich, painterly video abstractions create emotionally potent narratives that often seduce or repel the viewer. Converging Technology, Science, emotions and Art, she creates embodied interactive audiovisual experiences, discovering new ways of experiencing the internal body and the external environments.

The theme; 'externalising the internal - revealing what lay beneath the skin', has threaded Gonsalves' artistic investigations (and was the theme of her masters research in Art and Interactive Media, RMIT, Melbourne). From 1995 to 2001, Gonsalves worked with diagnostic imaging departments of hospitals within Australia, gaining access to diagnostic imaging machines and resulting imagery. Her work evolved over this period from interpretative representations of the body using diagnostic imaging to exploring complex emotional landscapes using moving imagery and sound. She created many short single channel films that examined emotional states and emotional contagion. She aspired to show people in the throws of emotion, at times using her own body and emotional experiences as the catalyst for the work. This resulted in intimate works that were screened, televised and exhibited extensively internationally.

In 2002, Gonsalves pursued research to explore how her artwork could probe the audiences' emotional body. She investigated the use of bio-metric sensors as triggers for emotional video narratives, leading to both more immersive installations, as well as intimate ubiquitous works. Gonsalves' work in mobile and wearable technology investigates ways of using these technologies to creating new, more empathic social interactions. Her projects often attempt to disrupt codes of social behaviours, with an agenda to create more intimate and ‘authentic' communication between each other ("Medulla Intimata" 2004; collaborator Tom Donsaldson, "Tryst "2006/2007). She sees mobile technology as a vehicle for the dissolution of the barriers between art, the social and the environmental, creating new art experiences integrated into everyday life.

Searching for more empirical foundations to the emotional cues that drive her work, she initiated a collaboration with affective neuroscientist, Dr. Hugo Critchley, and was awarded an AHRC/ACE arts and science fellowship. Currently, through her role as Artist in Resident at the Institute of Cognitive Neuroscience, UCL London, she is investigating the mechanisms through which emotions are triggered and shaped. Critchley's neuroscientific interests focus on the brain and emotion mechanisms by which human social and motivational behaviour is controlled. Over the last year, Critchley and Gonsalves are discerning the physiological signatures of emotional states to create software and artwork that recognize and respond to internal emotions.

Her work has exhibited/screened at the PowerHouse Museum, AU; Banff Centre for the Arts; CYNETART 06; Whitechapel gallery, UK; Siggraph, USA; ISEA ; Artsway, UK;  IAMAS, Japan; The Australian Centre For Photography, AU; Barbican, UK; Pompidou Centre, France; DEAF 2004; ICA, UK and was a featured artist representing the ACMI at the Melbourne Art Fair.

Her works have been awarded with fellowships and grants extensively. She has taken part in many Artist in Residence programs including The Banff New Media Institute in Canada, the Centre for Contemporary Art in Prague, Asialink artist in residence at the New Media faculty Chulalongkorn University, Thailand, (Pro) duction residency at Artsway, the Advanced Institute of Media Arts and Sciences residency in Japan, the AHRC/ACE Arts and Sciences Fellowship, UK.

Works by Gonsalves have been screened at many prestigious international and national festivals and events, and her music videos for labels BMG, EMI, and Festival Mushroom Records have been frequently televised worldwide.