This performance is no longer enacted through stock modeling but retroactively as group exhibition and self-portraiture.
From 2013, penelopemachine referred to the corpus of video, software licenses and model release forms, including covered works executed between 2008 and 2016 by commercial photographers, via Modelmahem.com and tumblr, produced as performance documentation for a durational performance modeled by Victoria Campbell, but that extends to online activity that uses penelopmachine as an alias for other activities, including the appropriation of covered works augmented within the terms of fair use.
Since 2022, penelopemachine has been represented as both an act of self-portraiture and a musing on artists who make other people in which Richard Kern, Ed Fornieles, Camille Henrot, Amy Beecher,Laura Bernstein,Allison Brainard,Bruce High Quality,Victoria Campbell,Micaela Carolan,Jenny Drumgoole,Amanda Hunt,Ariel Jackson,KJ Freeman,Aaron Kuhn,Nandi Loaf,Jayson Musson,Halo Rossetti, plus students, teachers, faculty and affiliates of the International Center of Photography, represent only a fraction of the roster.
.
2014. Amy Beecher,Laura Bernstein,Allison Brainard,Bruce High Quality,Victoria Campbell,Micaela Carolan,Jenny Drumgoole,Amanda Hunt,Ariel Jackson,KJ Freeman,Aaron Kuhn,Nandi Loaf,Jayson Musson,Halo Rossetti.
2014. New Museum, New York. Performance Benefit Gala for Ed Fornieles, ft. 'Penelope Machine' (Victoria Campbell).
"Good examples of the symptomatic are Victoria Campbell’s The Penelope Files, an auto-interview video with a reflexive sound monologue where she explores her thoughts on images of herself while browsing through her computer files. We hear her; we only see the screen. Exploring her relation to image, authorship, labour and the body, something about photography is revealed in the repetitive moving of files on her desktop’s finder window."
furtherfield 
Penelopemachine
.
"I am a free-floating personal identity, a body of multiple producers and a mass, dispersed consumer base: a corporation unto herself.
As a net model, I perform a representation and then I represent that performance online. I rarely model a specific product or brand, instead, I'm hired to represent a specific lifestyle - the lifestyle that the images themselves go into supporting."
"There's been little work done to construct a framework for the analysis of the antagonism between the exploited and exploiter. I am the factory and the agent of the antagonism.
"Camille Henrot was one of probably four women I shot for over the course of my modeling career, for Grosse Fatigue". She was also the only person who asked me to shave my armpits."