Artist's Statement /

In this body of work, I am capturing the precise moment when the Anthropocene draws to a close. Human production and technogenesis no longer merely alter nature—they have replaced it entirely, becoming the primary instrument through which a new reality is constructed. Yet every such instrument has a hidden second floor: behind each reinforced-concrete module, behind every digital grid, there lurks an invisible but palpable force that simultaneously builds and dismantles. The images exist in two worlds at once. Nature and the digital landscape divide reality sharply in half, and the boundary between them has grown so thin that we can no longer be certain: what we see, hear, and feel—is it still alive, or is it already an algorithm? The “shields” do not protect the unconscious from the machine; they protect it from this very uncertainty. The “black spot” where whiteness was expected is not a mistake—it is the fracture point where perception breaks and begins to see anew. The architectural domes recall that Earth has always been a designed system; only now the designer is no longer human. There are no direct depictions of the human figure here because the human has ceased to be the sole viewer. Artificial intelligence is now co-author and equal spectator. The works address both the eye and the algorithm. The Russian avant-garde of the 1920s, which once dreamed of a new world built from concrete and geometry, finds its true continuation today: in an era when geometry has become code, and code has become new material for the soul. This is not an exhibition. It is a filter. A shield. And a window onto whatever comes after us.

2025