Nari’s work takes me into a territory I do not instinctively inhabit.

Writing about nude photography means stepping outside my own comfort zone. I admit it is a visual language I have often struggled to fully understand, perhaps because of my own position, my own gaze, or simply because the representation of the body carries a weight that is never neutral. As a man, approaching this kind of imagery requires a certain caution: the risk of reducing the image to subject, surface, or aesthetic seduction is always present.

And yet, Nari’s work resists that simplification.

What emerges from her practice is not a search for exposure, but a study of presence. The body is there, often central, often vulnerable, but never treated as a passive object. It becomes structure, shadow, line, tension and silence. Her images do not ask to be consumed quickly; they require a slower way of looking, one capable of moving beyond the immediate recognition of nudity and entering the formal intelligence of the photograph.

Looking through her objkt profile, what stands out is the consistency of her visual language. Black and white dominates, interrupted at times by intense chromatic accents: red, blue, yellow. These are moments of colour that do not decorate the image, but shift its temperature. The compositions are often minimal, almost severe. Bodies emerge from darkness, disappear into fabric, bend into sculptural forms, or fragment into hands, backs, silhouettes and partial gestures.

Nari’s technique does not go unnoticed. Light is never merely functional; it behaves like a material. It cuts, conceals, reveals and reshapes the body until the figure becomes less a subject to be looked at and more a field of emotional and compositional tension.

Her work does not expose the body; it teaches the eye how to approach it with distance, restraint and attention.

Curatorial Statement

Nari’s photography reveals a visual language built around restraint, intimacy and formal control.

Her images move within the fragile space between body and abstraction, where the human figure is never fully reduced to representation and never entirely dissolved into form. The nude body becomes a surface of light, a sculptural presence, a rhythm of curves, shadows and interruptions. What could easily become direct is instead held back, filtered through composition, contrast and silence.

The strength of her work lies precisely in this tension. Nari does not use nudity as provocation, nor as an easy point of access. She uses it as a way to investigate vulnerability, distance and perception. The body appears as something both present and unreachable, intimate and withheld. It is not offered to the viewer; it is constructed within the image.

Her recurring use of black and white reinforces this sense of suspension. The absence of colour removes distraction and places attention on light, skin, texture and negative space. When colour appears, it does so with precision: red becomes intensity, blue becomes distance, yellow becomes rupture. These chromatic interventions do not break the language of the work, but reveal another layer of emotional pressure within it.

Across her profile, Nari’s practice demonstrates a clear understanding of how much an image can say by refusing excess. The frame becomes a threshold where gesture, exposure, concealment and composition negotiate their balance.

Her photography inhabits the space where the body is no longer only seen, but translated into form, silence and visual tension.

Selected Works

A personal selection; not of preference, but of resonance.

The following selection brings together five works by Nari, chosen from pieces I have collected or those I would have wanted to add to my collection. The curation is shaped by moments in which her work made the body feel less like a subject and more like a presence suspended between exposure and abstraction.

This is not intended as a retrospective, nor as a chronological survey, but as a constellation of images that stayed with me: works that reveal how Nari builds intimacy without surrendering control, and how her use of light transforms the nude figure into a language of form, distance and emotional restraint.

Each selected piece highlights a different aspect of her practice: the sculptural quality of the body, the dialogue between shadow and skin, the use of partial framing, and the way colour occasionally enters her world not as decoration, but as disruption.

For me, these works offer an entry into Nari’s visual method; a space where looking becomes slower, more conscious and less certain. Her images challenge the viewer to move beyond the immediate recognition of nudity and to confront what remains: composition, silence, vulnerability and the quiet force of technique.

The story of Najla - 2022

This photograph comes from the real story of Najla, a twelve-year-old girl forced to marry a forty-two-year-old man. Six months later, Najla took her own life.

Looking at the image with this story in mind, everything changes. The body curled up on the chair is not about pose, but about constraint. The hidden face, the curved back, the silence of the room speak of a child who was denied the time to simply be a child.

The high-heeled shoes left on the floor are perhaps the strongest symbol in the work. They do not represent femininity or seduction: they represent an imposed role. They are the sign of an adult world forcing a young girl to become a woman before she could even understand what that meant.

Nari does not tell this tragedy by showing violence directly. She tells it through a still, restrained and painful image. A scene in which the body is not exposed, but trapped inside a condition it never chose.

Najla is a work about the loss of childhood, about child marriage, and about all those girls denied the most basic right: to grow up.

Collect the artwork here

Need you - 2023

In this photograph, the face almost disappears into the dark. What remains are the neck, the arms, the hands. It feels as if Nari is taking importance away from identity, allowing only the body to speak.

The hands are the centre of the image. One seems to be reaching for something, while the other holds the arm. It is not a theatrical gesture, but an intimate one, almost involuntary. It speaks of a quiet tension: the need to protect oneself, perhaps to hold back, perhaps simply to remain within oneself.

The light reveals only what is needed. Everything else stays hidden. This makes the image both delicate and restless, because it does not offer a full explanation. It leaves us in front of a private, fragile moment that is difficult to define.

Here, Nari is not trying to show a body. She is trying to describe a feeling. And she does so with very few elements: darkness, skin, the gesture of the hands, and a face we are not allowed to see.

It is a suspended work, built more on what remains unsaid than on what appears.

Collect the artwork here

In my dreams - 2024

This photograph feels like it comes from a presence that keeps returning. Not simply someone remembered, but someone who continues to appear in a more fragile place: inside dreams.

The body is curled up, immersed in a warm, almost unreal light. It does not seem fully asleep, and yet it belongs to a suspended dimension, as if it were already part of a memory, or an image the mind cannot let go of.

The lights around the figure do not simply illuminate the scene. They feel like fragments of a dream, blurred apparitions, small flashes that make everything feel intimate and distant at the same time. The figure is close, but never entirely reachable. It is there, but as often happens in dreams, it could disappear at any moment.

In this work, Nari speaks about a delicate form of emotional obsession: those presences that no longer belong to our everyday life, but keep coming back when we lower our defences.

It is a sweet and melancholic image, made of warmth, silence and desire. A photograph about what remains inside us, even when we think we have stopped looking.

Collect the artwork here

Naked blue - 2025

This photograph seems to come from a moment of complete darkness, where light does not arrive from outside, but passes through the body and transforms it.

The blue makes the figure feel fragile, almost defenceless, yet gives it a very strong presence. There is vulnerability, certainly, but not weakness. Rather, there is the kind of beauty that appears when someone is seen at their most exposed, most truthful.

The lights wrapped around the body seem to both protect it and pass through it. They do not dissolve the pain, nor erase the loneliness, but make it visible. It is as if, in the darkness, the body finds another way to exist: no longer hidden, but illuminated in its fragility.

In this work, Nari speaks of a body that does not pose, but feels. A body that is helpless, beautiful, and deeply human.

Collect the artwork here

Tangled - 2025

In this photograph, what we feel first is a blocked voice.

The face is covered, crossed by black threads that seem to take away air, sight and speech. This is not simply a hidden woman: it is a woman who seems forced to carry something on her body that she did not choose.

In this image, the female body becomes a place of pressure. The threads seem to speak of everything that can tighten around a woman from the outside, until it reaches within: judgement, rules, fear, expectations.

The closed arms do not feel only like a gesture of defence. They feel like an attempt to remain whole. As if, beneath those threads, there were still a presence resisting, even when it cannot speak freely.

This image hurts because it does not scream. It stands still. It looks at you without being able to look at you. And in that silence, it leaves behind a very simple question: how many parts of herself must a woman hide in order to exist?

Nari speaks of an invisible form of imprisonment: one made of gazes, expectations, prohibitions and fears. Yet within this constraint, something remains alive. A fragility that is not surrender. A woman who, even covered, even held back, continues to exist.

Collect the artwork here

Conclusion

Nari’s work reveals an artist who uses the body as a place where emotion, memory and silence become visible.

Across the selected works, her photography moves between intimate vulnerability and quiet resistance. Some images begin from real wounds, others from dreams, solitude or inner tension, yet they all share the same refusal to turn the body into a simple object of vision.

What makes her practice distinctive is the way each image holds back as much as it reveals. The figure is often hidden, curled, covered, crossed by light or surrounded by darkness, but never absent. There is always a presence that remains, even when the face disappears, even when the body seems fragile, even when the story behind the image is painful.

For me, this selection brings forward the strength of Nari’s gaze: a way of photographing the body not to expose it, but to give shape to what it carries.

In Nari’s hands, the body is not the subject of the image, but the place where the image begins to speak.

Explore more of Irene D’Antò’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

Irene D’Antò’s practice carries something deeply punk. Not in the most predictable sense of the word, not as an aesthetic reference or visual pose, but as an attitude: a refusal to let the image behave properly.

In her works, the face can be scratched, the body can become unstable, colour can act as disruption, photography can be pushed beyond its documentary function, and scanning can turn into a physical gesture. Irene works across drawing, painting, collage, animation, scanography and photography, building a language in which no medium remains in its expected place. Her background and practice move through illustration, multimedia animation and analogue photography, with an approach that brings together manual gesture, reproduced image and digital intervention.

What emerges is not a search for harmony, but a continuous pressure applied to the image. Irene takes what she sees and pushes it off balance: she cuts it, contaminates it, forces it to reveal cracks, friction, unresolved areas.

On her Objkt profile, this energy appears with force: a broad, nervous, heterogeneous body of work made of altered faces, bodies in tension, acidic colours, symbols, posters, collages, organic and almost hallucinated presences. There is no desire to build a reassuring aesthetic line. There is, instead, a will to let each image retain a degree of disobedience.

Irene does not tame chaos. She uses it as material.

Her art does not polish the image. It scratches it until it starts speaking.

Curatorial Statement

Irene D’Antò’s art reveals a visual language built on the interference between manual gesture, reproduced image and digital manipulation.

Her practice does not move through a separation of media, but through short circuits. Drawing does not remain drawing, photography does not remain photography, collage is not only composition, scanning is not merely technical acquisition. Each passage becomes a possibility for alteration, a way to change the nature of the image and move it into a less predictable zone.

In this process, disruption is never gratuitous: it is a displaced form of control, a way to keep the image open, unstable, untamed. Irene creates works that can lose balance without losing presence: the mark interrupts, colour insists, the body deforms, the face withdraws, the organic detail coexists with digital intervention.

What makes her work interesting is precisely this resistance to visual cleanliness. The works do not try to resolve contradiction, but to keep it active. Analogue and digital, instinct and composition, raw matter and constructed image coexist without neutralising one another.

Each work therefore becomes an image that does not simply show itself, but alters the way we are used to looking.

Selected Works

A personal selection; not of preference, but of resonance.

This selection works as a constellation, not as a chronological retrospective. It does not organise Irene D’Antò’s path, but identifies points of intensity through which to read her visual attitude.

Each work shows a different possibility within her method: the image as a body under pressure, the face as an unstable presence, colour as an emotional signal, collage as a sabotage of linear reading, scanography as a physical gesture and not only a technical one.

The strength of her practice lies in the ability to make different registers coexist without making them homogeneous. Some works are more direct, others more cryptic; some deal with the figure, others with matter; some seem to move towards the manifesto, while others remain more intimate and disturbing.

For this reason, the selection does not look for the “most beautiful” works, but for those capable of better conveying the restless character of her imagery: images that do not close themselves, do not fully explain themselves, and do not ask to be made more orderly.

NUMBERS SIDE-A - 2023 (date of mint)

In this work, everything seems to come from a time already past: numbers, papers, marks and colours remain on the surface as traces of something that has been lived, used, perhaps forgotten.

The 15 at the centre immediately catches the eye, but it never truly dominates the image. It is surrounded by fragments, lines and stains that make it unstable, like a memory that keeps changing shape. The 99, darker and placed to the side, appears instead as a distant presence, almost an echo.

The red and black lines cross the composition like interrupted directions, while colour brings a more physical and sensitive dimension into the work. The blue, yellow, green and pink do not seek order: they seem to preserve passages, erasures, small collisions.

The image lives in this fragile balance, between what remains legible and what is lost. A worn surface, yet still alive, where every mark seems to hold a memory.

Collect the artwork here

BLUES - 2023 (date of mint)

This image seems to speak of something that has been wounded, covered, carried through time and then brought back to light.

The pink at the centre has something fragile, almost human. It does not draw a body, but lets us feel its presence: an exposed trace, crossed by white, black and red marks that seem like scratches, memories, attempts at erasure.

The dark areas at the edges and at the top tighten the image, as if something were trying to close over what remains visible. And yet, within this tension, the yellow on the right brings an unexpected light: not a peaceful light, but a form of survival.

The words and fragments hidden beneath the paint feel like half-finished messages, things said too late or never fully understood.

It is a work that does not try to tell a precise scene. Rather, it seems to hold an emotion difficult to name: something between loss, resistance and memory.

Collect the artwork here

MUSICA ON - 2023

This work speaks of memories resurfacing through music.

The words “Rinascita Musica” feel like the beginning of something trying to switch itself back on. Around them, however, everything appears worn, fragile, like an old memory left for years in a drawer: CDs, DVDs, notes, film, broken words.

It is not clear music. It is music that comes from far away, damaged by time, yet still able to be heard.

The pink and grey give the image a sense of nostalgia, while the red brings in something more alive, almost painful. At the bottom, the word “ON” feels like a simple but decisive gesture: pressing again, switching back on, allowing something to start once more.

It is a work about the possibility of finding a part of oneself again through what remains. Even when everything seems confused or erased, a trace can still play.

Collect the artwork here

STREET POSTER - 2024

This work seems made from everything that is normally left behind: torn papers, broken words, worn colours, images that have lost their place.

And yet nothing here feels truly dead. Each fragment still carries a voice, a small resistance, a memory attached to the paper. The black at the centre weighs like an open wound, while the yellow and red arrive with force, almost as if to say that something continues to live even within disorder.

There is a rough beauty in this image: it does not seek order, it does not seek cleanliness, it does not seek silence. Instead, it seems to gather pieces of the world and hold them together before they disappear completely.

The interrupted words do not explain, but they let us feel a human presence: something was said, printed, read, forgotten. Now it returns as an echo.

It is a work about survival. About everything that breaks, wears out, is discarded, yet still finds a way to remain.

Collect the artwork here

⩇⩇:⩇⩇ - 2025 (date of mint)

This work seems to emerge from darkness, like an apparition.

The body almost disappears, yet light passes through it and makes it present in another way. We do not see a defined figure: we see a movement, a trail, an energy suspended in space.

The blue and violet do not simply illuminate the image, they transform it. They seem to give shape to something inward: a thought, a breath, a presence that does not want to be held back.

There is a sense of fragility, but also of release. As if the body were letting something go, becoming less weight and more light.

It is a silent and intense work, where what matters is not the figure itself, but the trace it leaves behind. An image that speaks of transformation, movement, and of what continues to shine even when everything around it remains dark.

Collect the artwork here

Conclusion

Irene D’Antò builds images that never seek to be pacified.

In her works, photography loses stability, collage becomes accumulation, colour interrupts the reading, the body becomes trace, presence, energy. Every image keeps something unresolved, as if it had been caught at the exact moment it is changing shape.

What remains is a deeply physical practice, even when it passes through the digital. The hand is always present: in the cut, the tear, the scratch, the overlap, in the choice to leave visible what would usually be corrected or hidden.

Irene’s work does not seek beauty as order. It looks for it where the image breaks, where the mark becomes friction, where the fragment still holds a voice.

Her works do not ask to be understood immediately. They ask us to stay with them, inside that part of the image that continues to speak even when everything seems worn away.

The image does not return intact. It returns alive.

Explore more of Irene D’Antò’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

Before arriving at painting, my work developed within the digital space.

It was a space I knew well. It allowed me to build, modify, go back, control every step. For a while, that possibility felt natural, almost necessary to belong to the NFT world.
Then, slowly, I began to feel that something of me was being left out, or altered in the process.

It was not only a technical matter.
It was the need to find a material capable of holding the gesture, the mistake, the interruption. Something that could not be endlessly corrected or brought back to a clean state.

This shift gradually dismantled what seemed to be a requirement in the NFT space: being digital in order to exist. At the same time, the blockchain began to take on a different meaning for me. Not only as a medium, but as an additional condition for my physical works. The more this condition was questioned or rejected by platforms, collectors, and artists, the more I felt it as something that belonged to me.

The move to physical work also came through conversations with people close to me, from those who pushed me to bring outside what had until then remained within a controlled space. But it also came from observing contemporary artists and masters of the past, trying to understand how to engage with an inheritance without turning it into citation.

I was not looking for a recognizable language because it resembled something else. I was looking for a point where what I had absorbed could become mine without losing its origin. Something that could be both Fabrizio and Brarez.

It is within this passage, between digital control and physical friction, between inherited memory and human imperfection, that L’eredità e l’imperfezione takes shape.

Set up in progress - Pic by

Curatorial Statement

L’eredità e l’imperfezione is constructed as a system in which the trace moves through different states without settling into a final form.

In Origine, the work appears in its most direct condition.
The works on paper hold the gesture close to its emergence. The mark appears, interrupts, deviates. The surface does not yet organize a structure, but preserves the immediacy of the passage.

With Stratificazione, this condition begins to shift.
The canvas introduces resistance and depth. Overlays, accumulations, and transfers build a more complex material, where the trace does not disappear but disperses. The image no longer emerges from a single gesture, but from a sequence of deposits.

In Tempo, the process enters the exhibition space.
The work in progress makes visible what usually remains implicit: the gesture as it happens. Painting is no longer only a result, but the exposure of its own becoming.

With Persistenza, the trace moves through another transition.
The gel print works translate the gesture into a form that continues to exist beyond the original support. Not as reproduction, but as continuity.

Within this context, the Tezos blockchain accompanies the work as a memory of the gesture.
It does not simply document the work, but preserves its passage, extending its presence beyond the material without replacing it.

The exhibition thus becomes a field in which each work maintains its autonomy, while continuing to exist in relation to the others, to the time of the exhibition, and to the possibility of being replaced, acquired, or transformed.

Set up in progress - Pic by

Selected Works

The following works are not selected as a summary of the exhibition, nor as a hierarchy within the work.

They are points of passage.

Each one captures a moment in which the work changes state: from control to deviation, from structure to residue, from image to trace. Some belong to the initial phase of the gesture, others to its stratification, others to what remains once the image has already begun to transform.

They do not explain L’eredità e l’imperfezione.
They make visible some of the places where it takes shape.

Details from a canvas - Pic by

ORIGINE: Santuario irrisolto - 2026

In Santuario irrisolto, the composition seems to build itself around a central presence that never fully allows itself to be defined. The mark organizes the space, but without closing it, leaving the surface crossed by fullness, interruptions, and suspended areas.

What emerges is not a stable form, but a fragile structure, almost held back, where the image seems to search for balance without ever fully wanting to reach it. Matter does not act as a simple support. It becomes the place where the gesture settles, breaks, and becomes visible again.

In this sense, the work brings one of the exhibition’s central knots into focus: the idea that imperfection is not what prevents form from being completed, but what allows the trace to remain alive. The sanctuary evoked by the title does not appear as a resolved or protected space, but as a place still open, crossed by something that continues to move beneath the surface.

30x40 cm
Acrylic and collage on paper

Collect the artwork here

ORIGINE: Geometria delle mie tensioni - 2024

In Geometria delle mie tensioni, the composition begins from a principle of order, but never fully manages to stabilize it.

The structure is recognizable, almost built to contain the gesture.
And yet, just as it seems to define itself, something deviates: the mark shifts, loses precision, cracks.

It is not a sudden rupture, but a progressive loss of control.
The geometry remains, but it no longer governs the image. It becomes one trace among others, crossed by tensions it cannot resolve.

In this sense, the work does not oppose control, but exposes it at the moment when it is no longer enough.
This is where the work begins to shift: when the structure is not removed, but brought to the point where it can no longer contain what is happening.

30x40 cm
Acrylic on paper

Collect the artwork here

STRATIFICAZIONE: Materia del pensiero - 2025

In Materia del pensiero, the surface is no longer a field where the gesture appears, but a place where it accumulates.

The composition is built through blocks and sharp contrasts, but it is within the material that the image truly takes shape. The denser areas do not decorate the surface. They interrupt it, make it irregular, and introduce a physical presence that cannot be reduced to a stable structure.

Color works through opposition, the red, the black, the neutral areas, but it does not organize a definitive balance. Rather, it holds an internal tension, as if each element were contained within a system that never fully closes.

In this passage, the gesture is no longer immediate.
It settles, stratifies, and is altered by what comes after.

This is where the work stops being only a trace and becomes matter: not something that represents thought, but something that holds it, making it visible in its most unstable form.

30x40 cm
Acrylic and collage on canvas

Unminted work

STRATIFICAZIONE: Soglia notturna - 2025

In Soglia notturna, the composition does not impose itself. It allows itself to be crossed through.

The parts do not build an evident center. They spread across the surface like presences that emerge and withdraw, without settling into a precise point. Matter is still present, but it does not dominate. It alternates with thinner, almost absorbed areas, where the gesture remains as a softened trace.

Color works in depth.
Black and blue do not close the space. They open it, introducing a more internal, less readable dimension. The lighter and more material elements do not organize the composition, but interrupt it, creating passages rather than structures.

The work moves along this threshold: it is no longer construction, but not yet dissolution.
It remains in an intermediate state, where the image does not fully define itself and the gesture continues to be perceived as something still happening.

40x50 cm
Acrylic and collage on canvas

Unminted work

PERSISTENZA: Fallimento congestizio - 2026

In Fallimento congestizio, matter becomes central again, but not as construction: as an outcome.

The surface appears saturated, crossed by accumulations that no longer seek balance.
The gesture does not organize, does not structure. It settles until it almost becomes excess, something that exceeds the possibility of being contained.

The composition does not open up, does not spread out.
It thickens.

In this state, the image does not dissolve, but changes function.
It is no longer something to read or move through, but something that remains, holding within itself the traces of previous passages.

The title introduces a friction that the work does not resolve.
Failure is not an interruption of the process, but one of its possible forms. Congestion does not block the gesture. It makes it visible at the moment when it can no longer find a stable space.

This is where the work shifts again: not toward closure, but toward a permanence that does not coincide with balance, but with what remains after the gesture has already exceeded the form.

20x25 cm
Gel print on paper with acrylic

Collect the artwork here

Conclusion

Looking at these works together, it is not immediately possible to identify a point of arrival.

One moves through surfaces that hold different passages, without one prevailing over the others. Some parts seem to be forming, others interrupting, others remaining suspended.

What emerges from the current installation is not a single direction, but a possible configuration. A temporary balance that is likely to shift as the exhibition is inhabited, crossed, and altered.

In this sense, L’eredità e l’imperfezione does not present itself as something to be fixed, but as an open condition, where each presence can change the way the work is experienced.

And perhaps it is exactly there that the work continues, not only within the artworks, but in what remains available to change.

The exhibition remains open, not as something unfinished, but as something that continues to shift with every presence.

Explore more of my work:

🔗 Objkt Profile →

🐦 X (Twitter) →

I first encountered Paulisson’s work through a series of images in which light seemed to intervene beyond what was simply necessary.

It was not a light that clarified or revealed, but something that interfered with what I was looking at. The spaces did not simply emerge, they seemed to be built by it, as if the real surface of the image were never fully available.

That first impression stayed with me and pushed me to explore his archive more deeply.

As I continued to observe his work, I began to recognize a coherence that did not depend on the subject, but on a constant visual condition. Whether it was a figure, a body, or a space, much of his research seemed to move in the same direction: approaching definition without ever fully completing itself.

It is not simply a matter of blur or distortion.

It is a more subtle tension, built through the relationship between what the image allows us to glimpse and what, at the same time, it withdraws. In some works, sharpness clearly surfaces, stabilizing itself within the narrative of the scene; in others, it is almost entirely denied. But in no case does the image arrive at a fully resolved form.

Images that search for a definitive form, yet remain in an intermediate condition, where vision is always multiple.

Curatorial Statement

Paulisson’s photography can be read as a continuous attempt to bring the image toward a recognizable form, without ever granting it definitive stability.

Blur, which at first seemed like a disturbing element, actually becomes a central tool in his language. It intervenes to redefine the internal relationships of the image: it shifts planes, alters depth, and questions what should be immediately legible.

Faces, bodies, and environments are not erased, but held within a surface that absorbs them. The image is not built around a subject, but around its possibility of emerging.

This is where the tension between sharpness and negation takes shape.

Sharpness is never a point of arrival, but a temporary moment, often fragile, that can be interrupted or dissolved. In the same way, negation is never total: it always leaves room for a trace, a detail, a fragment that reopens the relationship with the viewer.

This balance prevents a linear reading.

The viewer is led to remain inside the image longer than expected, continuously searching for a point of support that never becomes definitive. What initially seems like a lack of definition reveals itself, over time, as a precise choice: to keep the image in an open state.

In this sense, Paulisson’s work is not so much about what is shown, but about the way vision is constructed and interrupted.

Selected Works

A personal selection; not of preference, but of resonance.

This section gathers a selection of works from Paulisson’s archive, identifying moments in which the tension between sharpness and negation becomes more evident.

It is not a complete overview, nor a chronological reading. The selection comes from images that imposed a pause, forcing the gaze to remain longer than expected.

What connects these works is not the subject, but the way the image constructs and withdraws itself at the same time.

Each selected work can be read as a threshold: a point where the image approaches the possibility of being recognized, without ever fully giving itself away.

For this reason, rather than functioning as examples, these works become anchors within his visual language: partial accesses to something that always remains, in part, unresolved.

psychedelic noir - 2021

In this image, the figure seems to inhabit multiple times at once.

The central body is seated, present, almost still. The arms resting, the frontal posture, the dark torso holding the gaze. Around it, however, everything moves in another dimension: the face repeats, breaks apart, and returns in incomplete forms, as if the image could not choose which presence to preserve.

Perception becomes unstable.

We are not looking at a person, but at the way a presence distributes itself in space. Each blurred face belongs to the same body and, at the same time, moves away from it. The scene becomes a mental room, a place where identity does not appear frontally, but through successive apparitions.

The sharpness of the body does not resolve the image.
It makes it more fragile.

The more the figure seems anchored, the more what surrounds it contradicts its stability. The central presence does not dominate the composition: it remains suspended within a multiplication that slowly absorbs it.

Here, Paulisson builds an image in which seeing means following a presence as it divides.

There is no erasure.
There is a form of diffused permanence, as if identity could not remain in a single point of the image.

Collect the artwork here

flying cars - 2022

In this photograph, the space remains recognizable only for a moment, before being crossed by an amount of light that completely alters its perception.

The road, with its linear structure and central vanishing point, seems to offer a stable orientation, but it is immediately redefined by luminous trajectories that multiply, overlap, and disperse across the entire surface. The lines do not simply describe movement, but transform the space into something unstable, difficult to bring back to a single form.

Following these trails, the gaze progressively loses the ability to distinguish between what belongs to the structure and what is instead an effect of time. Light does not accompany the scene, it rewrites it, bringing the image into a condition where every direction remains possible, but none definitive.

Here too, sharpness does not disappear completely, but remains as a minimal trace, enough to preserve a connection with real space. It is precisely this presence that makes its transformation more evident: the more recognizable the structure seems, the more it is crossed and dispersed.

The image does not return a passage, but the sensation of crossing it, as if time were not something that flows, but something that accumulates and expands within space.

Collect the artwork here

urbandances #10 - 2023

Here, light does not simply cross the space, but overloads it until it becomes difficult to hold.

The trajectories multiply in every direction, overlap, bend, and allow only fragments of the urban scene that supports them to emerge. Traffic lights, signs, and cars remain perceptible, but they can no longer organize the image into a stable structure.

The gaze follows the lines, loses them, encounters others, within a continuous movement that makes it difficult to distinguish between what is happening and what has already happened. Light does not describe time, it accumulates it, until it transforms it into a dense, almost material surface.

Even when some elements seem to reappear, such as an intersection, a direction, a depth, they are immediately reabsorbed by this luminous texture that incorporates and disperses them.

The image does not allow itself to be read as a scene, but as a perceptual experience. To see means to remain inside a flow that never fully organizes itself, but continues to generate possibilities without fixing a definitive one.

Collect the artwork here

urbandances #19 - 2024

In this image, presence is not defined through bodies, but through the way they dissolve into space.

The figures are recognizable only in fragments. Silhouettes, postures, barely suggested movements emerge from a surface that seems to be constantly transforming. The urban scene remains perceptible, but loses its function as a stable container, becoming a field crossed by passages that never settle.

Light cuts into the image irregularly.

The luminous lines do not follow an ordered path, but move like autonomous traces, almost independent from the scene. They cross the bodies, interrupt them, redistribute them, making it difficult to distinguish where the figure ends and where its dissolution begins.

The gaze cannot stop on a single point.

Every attempt to recognize a presence is immediately questioned by another that crosses it or replaces it. The figures do not disappear, but remain in an intermediate state, as if seen while forming or while dispersing.

Here too, sharpness is not absent, but appears for brief moments, in details that surface and quickly disappear. It is precisely this alternation that keeps the image active, suspended between what can be recognized and what continues to escape.

This is not about observing a scene, but about remaining inside a flow of presences that never find a definitive form.

Collect the artwork here

innerself_burnt_abyss_ - 2024

In this composition, the figure does not lose itself in space, but in repetition.

The face appears several times, arranged in a grid that suggests order, but actually amplifies the impossibility of recognizing it. Each frame seems to offer a minimal variation, an attempt to approach a presence that never manages to stabilize.

Perception moves through comparison.

The gaze shifts from one image to another, searching for a difference, a detail that might clarify, but finds only imperceptible displacements. The figure does not truly change, and precisely for this reason it becomes increasingly less defined.

The surface contributes to this instability.

The grain, the warm color, and the irregular edges create a distance that is not only visual, but also temporal, as if these images were already consumed at the very moment they are observed. They do not return a face, but its deterioration.

Here too, sharpness does not disappear completely, but is distributed unevenly, emerging for brief moments without ever imposing itself.

The image does not propose a variation.
It proposes an impossibility.

Recognition becomes a process that repeats itself, without ever reaching a definitive form.

Collect the artwork here

Conclusion

Paulisson’s work does not organize itself around the image as a completed form, but around its possibility of emerging without ever stabilizing.

Across the works, vision is not denied, but constantly questioned. Light, blur, repetition, and movement do not act as effects, but as conditions through which the image takes shape and, at the same time, withdraws.

What changes is not the image, but the way of looking.

The gaze does not find a definitive point, but remains inside a continuous variation, where every attempt at recognition opens a new possibility, and every form exists only for the time necessary to be called into question.

It is not the image that escapes, but the moment in which we believe we have fixed it.

Explore more of Paulisson’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

A mirror reflects.

It returns an image that, at first glance, seems to coincide with what stands before it. Yet a reflection is never entirely neutral. It always introduces a variation, however subtle, that alters what we see.

It is also a moment of observation.

A space in which the gaze pauses and confronts something it recognises, yet cannot fully control. The reflection maintains a distance: between what is present and what appears, between what we believe we see and what actually emerges.

Within this gap, a tension is formed.

Symmetry can become unstable, duplication can generate difference, familiarity can shift into ambiguity. The image ceases to be a simple return and becomes a field of possibility.

It is within this space, between recognition and transformation, that the theme Mirror takes shape in the works of the selected artists.

It is precisely within this tension that the selected works begin to operate, not simply as reflections, but as images shaped by distance, alteration, and perceptual instability.

Curatorial Statement

In selecting five artists from over one hundred submissions, my approach was not to identify the strongest profiles in absolute terms, but to recognise those who, from my perspective, could engage with the theme Mirror in a more convincing and personal way.

The first element I focused on was the portfolio. Not the individual result, but the continuity of the practice over time: the presence of a direction, an internal coherence, a language capable of sustaining itself beyond immediate impact. What mattered to me was understanding whether there was a genuine artistic practice behind the images, something able to hold and develop over time.

Alongside this, technical ability played a central role. Not as virtuosity or perfection, but as control of the medium and formal awareness. I was drawn to artists capable of constructing images with density, not superficial, with a quality able to hold the gaze and suggest further layers of reading.

Another decisive aspect in my selection process was the time of looking. I found myself closer to those artists whose work could interrupt a rapid and automatic mode of viewing. In a context where images are often consumed within seconds, I gave more weight to those capable of making me pause, of creating a resistance to fast scrolling, of genuinely capturing my attention.

Finally, intuition.

There is always a less codifiable part in any curatorial process, and for me it lies in recognising when an artist does not simply appear suitable for a theme, but seems able to move through it in a fertile way. In the case of Mirror, this meant selecting artists who, through their practice, sensitivity, and visual language, gave me the sense that they could develop the theme not in an illustrative way, but as a space for reflection, duplication, displacement, and transformation.

The final selection emerges from this intersection of attention, time, and intuition. The five artists do not share a common style, nor a single way of working, but a quality that felt essential to me: the ability to turn Mirror into an open field; one to be explored with depth, without immediate resolution.

Selected Works

A personal selection; not of preference, but of resonance.

The selected works emerge from different approaches, yet share the same possibility: that of entering Mirror without reducing it to a simple visual exercise.

What interested me was not finding a single reading of the theme, but leaving room for interpretations capable of shifting it, complicating it, and making it less stable. In this sense, reflection does not appear only as symmetry or duplication, but as a condition that alters the image, bends it, and places it under tension.

Some works operate through a more immediate recognisability, while others open up more ambiguous territories. Some seem to search for balance, while others introduce a fracture. Yet it is precisely within this gap that the beauty of the artist’s interpretation comes into view.

I was not interested in constructing a uniform group, nor a sequence of works closed in on themselves. What mattered to me, rather, was allowing a dialogue to surface, a relationship made up of proximities and differences, in which each selected artist could contribute to expanding the field of the theme.

Rather than returning a fixed image, these works open up a space of oscillation. And it is within this instability that, for me, Mirror finds its most fertile form.

Il mio parere è che così funzioni meglio: il ritmo è più naturale, i grassetti guidano la lettura senza appesantire, e il tono resta coerente con il resto del pezzo. Se vuoi, adesso ti preparo i tre blocchi finali armonizzati nello stesso inglese.

I C MONSTRS DO U - by Amorvobiscum

The image is built on a mirrored composition, yet symmetry here never produces balance. Instead, it stages a kind of duel, in which the doubled figure appears caught between confrontation and collapse.

What emerges at the centre is less a stable body than a contested presence, where painterly gestures, organic fragments, and artificial insertions accumulate without resolving into a single identity. The mirrored structure holds the image together, but only just, as though the act of reflection were also the point at which tension begins to surface.

In this work, reflection does not clarify the figure or restore coherence. It brings to light something more latent: a form of silent anger, held within the image and made visible precisely through duplication. The body is not confirmed by the mirror, but pushed further into strain, mutation, and excess.

The result is an image in which symmetry remains present, yet constantly compromised, never stable enough to reassure. What the mirror returns is not recognition, but a conflict that can only fully emerge through reflection itself.

Collect the artwork here

Explore more of Amorvobiscum’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

Today is the Day - by Zlaser

The image depicts a soldier shaving, caught in a moment that is at once intimate and controlled. The act itself already implies a relation to reflection: a face observed at close range, a body subjected to adjustment, a gesture of self-construction carried out through the mirror.

What makes the image compelling is the way this apparently familiar scene is continuously disrupted. The composition does not offer a stable return of the figure, but breaks it through interference, fragmentation, and visual noise. Recognition remains possible, yet never fully secure.

In this sense, reflection is not simply present as a physical device, but as a condition of tension between self-observation and instability. The soldier’s gesture suggests precision, routine, and control, while the image surrounding it resists clarity, as if the act of looking at oneself were already exposed to distortion.

The result is an image in which the mirror no longer guarantees coherence. Instead, it becomes the space where identity is adjusted, interrupted, and momentarily unsettled.

Collect the artwork here

Explore more of Zlaser’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

as the light unfastens - by Beantart

This image approaches Mirror through a quieter and more intimate register. There is no explicit duplication, yet the sense of reflection is embedded in the scene itself, in the way the figure emerges from the water as both presence and surface.

The body does not appear fully fixed. It seems suspended within a space where contours soften, light disperses, and the boundary between figure and environment becomes less certain. The water is not simply a setting, but a reflective condition, one that absorbs the image rather than returning it clearly.

What makes the work compelling is precisely this sense of instability. The figure remains visible, yet never entirely resolved. Rather than confirming identity, the image holds it in a more fragile state, somewhere between appearance and dissolution.

In this work, reflection does not duplicate the subject, but complicates her presence. The result is an image that moves through quiet tension, where self-perception feels less like recognition and more like a gradual process of transformation.

Collect the artwork here

Explore more of Beantart’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

The other side - by Notangra

The image is structured around a central mirror, clearly defined yet far from neutral. The mirror does not simply reflect the surrounding space, but opens onto something beyond it. It functions less as a surface of return than as a threshold, suggesting the possibility of another condition, another plane, another side of the visible.

What appears within the frame is not a stable reflection, but a landscape that feels both familiar and displaced. Clouds, traces, and vertical interruptions prevent the image from settling into continuity, so that reflection becomes a form of passage rather than duplication.

The presence of multiple figures around the mirror introduces a collective dimension. They seem to approach it, cross it, or orbit around it, as though the mirror were no longer an intimate device of self-observation, but a shared field of projection. It becomes a space to move towards, rather than something that simply returns an image.

In this work, reflection is tied to the idea of elsewhere. The mirror does not confirm what is already here, but points towards what might exist beyond the visible surface. The result is an image in which looking becomes inseparable from crossing, and where the mirror begins to act less like an object than like an invitation.

Collect the artwork here

Explore more of Notangra’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

MIIRROR IN TEA [NEFERTITI CARTOUCHE] - by GiselX

The image presents a central figure, frontal and isolated, held within a field that feels both material and immaterial. The body appears suspended, as if emerging from darkness while simultaneously dissolving into it.

In this work, Mirror operates less as a visible structure and more as a cosmic condition. The figure does not reflect outward, but seems to contain its own light, suggesting a movement from obscurity towards illumination. What is mirrored here is not form, but transformation.

The surface of the image carries a sense of ritual and passage. The body becomes a site in which forces converge, where light and darkness are not opposed but continuously negotiated. The reference to ancient texts reinforces this dimension, positioning the figure not as an individual subject, but as a presence moving through states of becoming.

In this context, reflection becomes inseparable from power, language, and creation. It is not a return of the visible, but an act of emergence, a way of bringing something into light that previously remained concealed.

The result is an image in which the mirror no longer belongs to perception alone, but to a deeper process of revelation, where seeing and becoming begin to overlap.

Collect the artwork here

Explore more of GiselX’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

Conclusion

Across these works, Mirror does not settle into a single definition. It shifts between structure, gesture, condition, and space, taking on different forms depending on how it is approached.

In some cases, reflection introduces tension and excess. In others, it becomes a more intimate process of perception, or a threshold that opens onto something beyond the visible. What connects these works is not a shared aesthetic, but a shared capacity to move away from the idea of reflection as simple return.

The mirror, here, does not confirm what is already known. It displaces it. It alters it. It makes visible what would otherwise remain unresolved.

Rather than offering clarity, these works hold the image in a state of instability. And it is precisely within this condition that reflection becomes most active, not as a surface to look into, but as a space in which the act of seeing is continuously redefined.

What the mirror returns is never only an image, but a different way of seeing.

Explore more ACTZ Gallery:

🔗 Objkt Profile →

🐦 X (Twitter) →

There are artistic archives that ask to be looked at, and others that ask to be read. Michelle Thompson’s, to me, clearly belongs to the latter.

My encounter with her work did not happen through excess or visual spectacle. What held my attention was control. In a visual landscape often saturated with emphasis, Michelle constructs images that remain through subtraction, interruption, and suspension. Their force does not emerge from what is added, but from what is cut at the exact moment it matters.

In her language, collage does not appear as a decorative practice, but as a method of organising thought. Figures, objects, faces, and architectures are not assembled to celebrate fragmentation, but to establish a new symbolic hierarchy. Each composition retains a strong graphic clarity, yet beneath that clarity something unresolved continues to vibrate.

Across her archive, a precise visual grammar returns: desaturated or black-and-white imagery, cut surfaces, disciplined compositions, and above all, the irruption of red as an organising force. That red does not decorate the composition. It redefines it.

Some artists construct images. Michelle decides the exact point where the image begins to wound.

Curatorial Statement

Michelle’s practice moves within a clear tension between found imagery, graphic construction, and symbolic reduction. In her work, collage does not coincide with accumulation, but with precision. Each element remains only insofar as it is necessary.

Her visual language is grounded in active subtraction: partially denied faces, interrupted bodies, geometric surfaces, sharp cuts, and contrasts between photographic memory and graphic intervention. Even when the source appears rooted in archive or editorial imagery, the result is never nostalgic. Michelle does not retrieve the past to preserve it, but to render it unstable again.

Many collages demonstrate the possibility of juxtaposition. Michelle Thompson, instead, uses juxtaposition to produce a visual command. Her compositions do not disperse. They concentrate. Each form occupies the surface with a specific function, building structures that often feel almost architectural. Even when the human figure appears, it is never simply represented. It is held within a framework.

In this sense, red becomes her most radical element. It is not perceived as colour, but as an act. It marks the point where the image ceases to be memory and becomes declaration. At times it suggests censorship, at others a wound, or a perceptual directive. In every case, it interrupts the neutrality of the visible.

She does not use collage to reconstruct a fragmented reality.
She uses it to reveal where that reality had already been cut.

Selected Works

A personal selection; not of preference, but of resonance.

To approach Michelle Thompson’s work is to enter a visual language built on precision, tension, and subtraction. Across these works, what emerges is not only a recognisable aesthetic, but a consistent way of structuring the image through interruption, balance, and symbolic pressure.

This selection does not attempt to define her practice in full. It moves instead through some of the points where her language feels most exact: where the fragment becomes structure, where composition becomes restraint, and where red stops being colour and begins to act.

What matters here is not variety, but coherence. Each work returns to the same internal discipline while shifting its emotional weight. It is precisely in that controlled recurrence that Michelle’s visual identity becomes most visible.

Volcano - 2021

In this work, Michelle Thompson constructs an image of strong tension without ever forcing its tone.

The female figure, shown from behind, immediately removes any possibility of direct psychological reading. We are not faced with a portrait in the traditional sense, but with a restrained presence, almost silent. It is precisely this subtraction that makes the superimposition across the body more incisive.

The insertion of the volcanic landscape does not act as a simple visual contrast. It does not interrupt the figure. It redefines it. The body becomes a surface of emergence, a place where an internal force takes form without ever turning into excess. Michelle does not dramatise the composition. She maintains balance, even as she introduces an element that could easily become overwhelming.

The tension does not arise from gesture, but from the relationship between stillness and pressure. The figure remains composed, almost suspended, while within it opens a landscape of energy, matter, and the potential for collapse. The composition holds these two registers together without dispersing them: the discipline of form and the latent risk of rupture.

What emerges is not an explicit fracture, but a more subtle condition.
As if the composition reveals the point where interiority ceases to remain invisible, while still resisting full exposure.

It is not a body that narrates.
It is a body that contains.

Collect the artwork here

I Found the Right Girl - 2022

Here, Michelle operates through subtraction.

The figure is present, yet never fully offered to the viewer. The body remains only partially visible: the legs emerge, the setting is still recognisable, but everything that would normally organise the reading of the composition is crossed by a sharp, vertical intervention. The red does not accompany the figure. It occupies it.

It is within this relationship that the piece finds its measure.

The textile insertion does not function as ornament, nor as simple chromatic contrast. Instead, it acts as an interruption, a gesture that withdraws the composition from its most immediate legibility. That red presence, dense and physical, does not merely conceal. It redefines the balance, shifting perceptual weight and imposing a new hierarchy between body, surface, and space.

What remains is a controlled tension between visibility and negation.

The scene retains something familiar: the landscape, the posture, the photographic imprint. Yet it is immediately displaced by this vertical cut, which interrupts the possibility of portraiture. Michelle Thompson does not remove the figure. She holds it within a threshold. It is as if the composition stops at the exact point where it could become fully readable.

The red, once again, does not act as colour, but as decision.
It does not embellish the composition. It divides it, governs it, and forces it to confront what it withholds.

It is not a figure that reveals itself.
It is a figure that remains partially withdrawn.

Collect the artwork here

Somewhere New - 2024

In this collage, she does not intervene in the landscape to enrich it, but to interrupt it.

The underlying image retains the quiet distance of a panoramic photograph: water, reliefs, atmospheric depth, a spatial construction that remains legible. Into this continuity, however, a compact, striped red form is introduced, one that does not engage with the landscape on its own terms. It cuts through it. It redefines it. It imposes a different measure.

This is where the composition finds its precision.

The red does not enter as an accent, but as a dominant presence. Its geometry, so sharp and artificial, removes the landscape from any purely contemplative reading. The view does not disappear, but it ceases to be self-sufficient. It is forced to coexist with an element that does not belong to its visual order, and precisely for this reason alters its perception entirely.

What emerges is a controlled tension between natural space and graphic decision.

Michelle Thompson does not use form to decorate the composition, but to unsettle its balance. The white lines that traverse the red reinforce this effect. They do not soften the block, but make it more assertive, almost measured, as if the intervention were not impulsive, but deliberately calibrated.

The dark mass in the foreground participates in this same logic. It does not support the depth of the landscape. It compresses it further, creating a visual threshold that narrows the field and shifts the weight of the composition towards something more constructed, less natural, more decisive.

This is not a landscape that offers itself to the viewer.
It is a landscape that is cut through by an act.

Collect the artwork here

Private View - 2025

In this work, Michelle builds the image through concealment rather than exposure.

The composition is structured around a decisive act of covering. The upper portion of the figure is almost entirely removed from view, replaced by a dense, textured surface that interrupts any immediate recognition. What remains visible is only a fragment, a partial expression, suspended between presence and erasure.

It is within this tension that the work holds.

The face, reduced to a single visible gesture, does not fully emerge. It appears caught between layers, as if the image were resisting its own completion. This is not a portrait in the conventional sense, but a figure held in a state of partial visibility.

The intervention does not feel aggressive. It feels measured.

The material that obscures the figure carries weight and tactility, introducing a physical dimension that contrasts with the photographic fragment beneath. The image is not broken; it is withheld. What is removed becomes as significant as what remains.

There is no attempt to reconstruct the figure.
The work does not resolve.

Michelle Thompson does not reveal identity.
She places it under constraint, allowing only a trace to surface.

This is not an image that offers clarity.
It is an image that holds back, and defines itself through what it refuses to show.

Collect the artwork here

Like the Movies... - 2026

In this work, Michelle constructs the composition through a measured erotic tension.

Two fragments coexist without fully aligning. Above, a kiss. Close, intimate, almost suspended. Below, a hand resting on the breast. More direct, more physical. The composition does not attempt to merge these gestures into a single narrative. It holds them apart, allowing their proximity to generate friction.

It is within this distance that the piece finds its force.

The kiss suggests tenderness, a moment that could belong to memory or cinema. The gesture below introduces a different register. More immediate, more tactile. Neither dominates. Neither resolves the other. The composition maintains a delicate imbalance between intimacy and exposure.

What emerges is not an explicit scene, but a controlled threshold.

She does not push the composition towards excess. She avoids any collapse into the obvious. The erotic charge remains present, but it is displaced, redistributed across the surface. It is not located in a single gesture, but in the relationship between them.

The diagonal cut reinforces this separation. It does not simply divide the composition. It calibrates the tension, preventing continuity while allowing resonance.

Nothing is exaggerated.
Nothing is fully resolved.

This is not a composition that declares desire.
It is a composition that holds it in suspension, just before it becomes explicit.

Collect the artwork here

Conclusion

To engage with Michelle Thompson’s work is to enter a visual system built on rigour, control, and symbolic incision. Her works do not pursue visual abundance, but a form of synthesis capable of holding tension.

What makes her archive so recognisable is not only the elegance of composition, but the consistency of its internal logic. Michelle creates images that are immediately legible, yet never exhausted by their readability. They remain open not because they are vague, but because their precision never coincides with total explanation.

In her work, synthesis does not reduce; it intensifies.
The fragment does not disperse meaning; it compresses it.
Colour does not embellish; it intervenes.

Michelle Thompson does not leave us with a composition.
She leaves us with a structure of thought made visible.

In her images, the mark does not accompany memory; it reshapes it.

Explore more of Michelle Thompson’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

There are artist archives that function like catalogues, and others that behave more like emotional climates. Lorenipsum’s portfolio belongs to the latter. At first glance, the eye is caught by softness: pastel fields, quiet interiors, feminine presences, intimate scenes, and a chromatic register that often hovers between blush, dust, pale blue, and the faded warmth of memory. But spending time with this body of work reveals that such gentleness is never merely decorative. It is structural.

What Loren builds is a poetics of partial appearance.

Faces are often blurred, erased, reduced, or absorbed into the image. Bodies remain present, yet identity is withheld. This is not concealment for its own sake, nor a gesture of stylized anonymity. It feels instead like a precise visual ethic: a refusal to deliver the self as a fixed, consumable image. Presence is always there, but never fully surrendered.

This is what held me.

There is a rare consistency in this archive. Even when the subject shifts, the emotional frequency remains unmistakable. Loren’s images do not ask to be decoded quickly. They ask to be inhabited.

Some artists depict a face. Others reveal what remains beyond it.

Curatorial Statement

Lorenipsum’s practice explores emotional presence through fragmented identity. Across her portfolio, the human figure remains central, yet faces, expressions, and narrative clarity are often softened or withheld. In this way, portraiture shifts from representation to atmosphere.

Her work moves through three recurring dimensions: the veiled figure, the everyday as psychological space, and a palette of chromatic tenderness. Bodies appear present but unreachable, domestic scenes become containers of inner states, and muted colors hold together vulnerability, memory, and quiet tension.

Rather than defining identity, Loren suggests its instability. What emerges is not a series of portraits, but a constellation of thresholds where the self appears in fragments, silences, and emotional traces.

Selected Works

A personal selection; not of preference, but of resonance.

Entering lorenipsum’s portfolio means encountering a wide constellation of figures, scenes, and emotional registers that all seem to belong to the same dispersed autobiography. Selecting only a few works from this archive is therefore not an attempt to summarize the artist, but to isolate those points where her language becomes especially clear, where the delicacy of her visual surface reveals the full rigor of her emotional construction.

These works were chosen because they embody the central tensions of Loren’s practice: visibility and withdrawal, tenderness and fracture, narrative and suspension, memory and present feeling.

They are not representative in a taxonomic sense. They are resonant. They mark the places where Loren’s visual language most powerfully transforms quiet imagery into psychic architecture.

Across the Pendulum - 2024

In Across the Pendulum, the image suggests a condition of suspension rather than resolution. The title immediately evokes oscillation: movement between poles, emotional drift, the impossibility of remaining fixed within a single state. What lorenipsum seems to explore here is not balance achieved, but subjectivity in transit.

This sense of pendular motion is central.

Rather than presenting identity as something stable or unified, the work frames it as a continuous passage between opposing forces: intimacy and distance, clarity and blur, stillness and inner unrest. The figure, as often in Loren’s practice, is less a defined individual than a vessel of fluctuating emotional charge. Presence remains visible, yet never fully anchored.

What gives the work its strength is precisely this refusal of finality. Across the Pendulum does not describe a self that has arrived somewhere; it captures one still moving, still negotiating its own interior weight. The pendulum becomes more than metaphor: it becomes a structure of feeling, a visual way of describing the rhythm of instability itself.

Collect the artwork here

Messy - 2025

In Messy, lorenipsum brings emotional disorder into view without ever letting it collapse into noise. The composition suggests intimacy in a state of disturbance: not rupture as spectacle, but the quiet evidence of an inner condition spilling into the visible world. What appears “messy” here is not simply the scene itself, but the emotional residue attached to it.

This is where Loren’s practice becomes especially acute.

She does not aestheticize chaos in an aggressive way; she softens it, contains it, and turns it into a psychological surface. The disorder remains readable, but never fully explained. As often in her work, the image resists narrative closure. We are not shown a dramatic event, but an aftermath: a tension, a state of emotional accumulation that has already altered the space.

Vulnerability does not appear as confession. It appears as atmosphere. The work suggests that disarray can also be intimate, even tender: a condition in which the self is no longer composed for others, but left exposed in its unstable truth.

Collect the artwork here

Promise - 2025

In Promise, Loren presents a solitary figure against an airy field of blue, holding a red balloon that immediately destabilizes the apparent calm of the composition. The scene contains the visual grammar of innocence, but the emotional register is more complex. The figure appears isolated, almost ceremonially detached, as if caught between childhood symbolism and adult introspection.

What makes the work striking is the imbalance between fragility and control. The balloon, light and unstable, becomes the emotional axis of the image: a small but powerful sign of attachment, hope, or memory. Yet the facelessness of the figure interrupts sentimentality. Loren refuses to tell us whether this is joy, loss, or waiting. She leaves the emotional contract unresolved.

Here, tenderness becomes ambiguous, and therefore true.

Collect the artwork here

Tear Collector - 2026

Tear Collector condenses one of the most important traits in Loren’s practice: the transformation of emotional pain into a symbolic image that remains elegant without becoming ornamental. The figure is frontal, almost iconic, and yet still partially withheld. The emotional material of the work is explicit in the title, but visually it remains restrained.

This restraint is precisely where the strength lies.

Loren does not illustrate sadness through melodrama. She gives it structure. The tears implied by the title are no longer private discharge; they become something gathered, archived, preserved. Sorrow is treated not as collapse, but as matter. The figure becomes a vessel of affect, and the painting itself becomes a quiet reliquary of emotional residue.

The work suggests that feeling, once endured, can be transformed into language.

Collect the artwork here

the sacrifice of the mean girl - 2026

In The Sacrifice of the Mean Girl, lorenipsum turns inward with unusual sharpness, addressing the parts of the self that are edited, muted, or abandoned in exchange for acceptance. The work’s title is deliberately provocative, but beneath that provocation lies something deeply vulnerable: a reflection on the identities we learn to disown in order to remain lovable.

What makes the piece compelling is that sacrifice is not framed here as heroism, but as emotional survival. The “mean girl” can be read not simply as a social type, but as a fragment of the self, defensive, difficult, excessive, perhaps unruly, made intolerable under the pressure of intimacy, approval, or belonging. Loren transforms that inner negotiation into an image of psychic cost.

This is where the work becomes especially strong within her broader practice. Across Loren’s portfolio, identity is rarely presented as stable or whole; here, that instability takes on a more explicit psychological dimension. The self is not only fragmented, but selectively sacrificed. What is lost is not an accessory layer, but a living part of emotional complexity.

Rather than offering resolution, The Sacrifice of the Mean Girl lingers in the discomfort of self-erasure. It suggests that love and acceptance, when internalized under the wrong conditions, can become forces of reduction. What remains is a portrait of identity shaped not only by what it expresses, but by what it learns to suppress.

Collect the artwork here

Conclusion

Lorenipsum’s portfolio reveals a rare coherence of sensibility. Across portraits, interiors, symbolic scenes, and relational fragments, the artist maintains a consistent investigation into how identity can be represented without being fixed. Her figures remain emotionally legible while visually withheld, and this tension becomes the foundation of her language.

What Loren offers is not the spectacle of personality, but the archaeology of feeling.

Her work reminds us that the self does not always appear through clarity. Sometimes it emerges through blur, omission, chromatic softness, and the fragile staging of everyday life. In this sense, her art belongs to a lineage of emotional minimalism, where the unsaid carries more weight than the declared, and where tenderness is not innocence, but a disciplined way of surviving fragmentation.

To move through Loren’s archive is to enter a space where the human figure is never fully lost, but never fully recoverable either. That unresolved condition is the true subject of the work.

It is precisely there, in that suspended territory between presence and disappearance, that lorenipsum builds her visual truth.

Identity is not the face, but what endures beyond it.

Explore more of lorenipsum’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

I encountered Mat Nova’s work almost by chance, letting the flow of the Tezos feed bring his vision to light. What held my attention was not just the quality of the shot, but the way he chooses to intervene upon it. His practice is divided between classical photography, made of portraits and glimpses of the street, and a phase of photomanipulation where the image is inhabited by graphic signs and writings. It is an aesthetic that feels familiar to me: his abstract side, where the mark breaks into the figure, brings me back to certain trials and experiments I faced while digital painting, trying to understand where reality ended and the gesture began.

If traditional photographs move within a visual clarity, it is the moment the graphic sign intervenes to order the thought on the surface of the shot that catches my attention. Mat Nova transforms the photo into a sensitive support, where the writings, lines, and symbols seem like necessary annotations to decipher the subject.

It is a subtle balance: the solidity of the shot remains intact, yet it is recontextualized by a digital stroke that appears both meditated and urgent. In this dialogue, I recognize a common research, that of not being satisfied with the simple reproduction of reality, but wanting to sign it with a gesture that finally makes it a complete work.

The shot provides the structure, the graphic sign defines its breath.

Curatorial Statement

Mat Nova’s research develops as an investigation into the coexistence of two languages: the testimonial nature of photography and the interpretive nature of the hand. His production rests on an ordered composition, where color and light are managed with a clarity that defines spaces where one can pause and let thoughts wander. There is no forced tension in his images, but a structural calm that allows the subject, whether a portrait or a street glimpse, to exist with clarity even when crossed by the graphic element.

The photomanipulation intervention does not act as a rupture, but as an extension of thought that settles on the surface of the image through writings and geometric strokes. His method is based on a lucid layering: photography provides the architecture of the real, while the mark represents an added coordinate that never suffocates the original vision. In this balance, Mat Nova transforms each work into an extremely clean surface of reflection, where abstraction serves to give a physical measure to the intention without ever clouding the nature of the shot.

Selected Works

A personal selection; not of preference, but of resonance.

The following selection brings together five works by Mat Nova: a small but dense constellation within his visual journey. They are not presented as a retrospective, nor as a complete inventory, but as five moments of resonance, fragments that have stayed with me long after first encountering them in the digital flow.

Each image carries a precision that does not seek consensus, but the truth of the gesture. In most of these works, photography becomes a welcoming field for the graphic sign, in a balance that fluctuates between the rigor of captured reality and the freedom of subsequent intervention. I chose these works because, in my eyes, they represent the necessary completion of his vision.

alter ego - 2023

In this image, the body appears as an unstable presence, held within a reflective surface that never yields a cohesive identity. The glass does not simply separate the interior from the exterior; it becomes a space of interference where the figure, landscape, and visual passages overlap until the subject becomes a trace rather than a portrait.

The central silhouette, dark and frontal, seems to assert a full presence, yet it is continually fractured by reflections, transparencies, and lateral presenze that cross the image. The result is an indirect self-portrait, where the self does not manifest in a stable form but emerges as a point of tension between the visible and the invisible, between appearance and fading.

The black and white reinforces this suspension, compressing the scene into a range of solids and voids that transforms the reflection into an interior language. The work does not seek a description of the subject but stages the very difficulty of seeing oneself, turning perceptual fragmentation into a form of truth.

Collect the artwork here

you didn't deserve my patience - 2024 [collab with Scott]

Here, the night landscape is stripped of any descriptive function and transformed into a mental space. The starry sky, the suspended red disc, and the white line crossing the entire composition build a scene that appears both cosmic and diaristic, as if the image were recording not a real place, but the trajectory of an emotional wound.

The handwriting inserted along the path acts as a clear affective statement, yet its sinuous arrangement prevents the text from imposing itself as a simple message. The words become a path, an orbit, the residue of an interior movement that envelops the central red core, almost transforming it into a point of condensation for conflict, anger, or a finally reached awareness.

The work thus holds together fragility and affirmation. On one hand, it preserves an intimate quality, almost like a visual note; on the other, it builds a strongly symbolic image, where personal language expands to occupy the space of the cosmos. The result is a composition that makes visible the moment when a feeling stops being a silent burden and becomes a stance.

Collect the artwork here

prologue - 2024

In this image, the figure is not portrayed as a stable presence, but as a crossing. The dark body occupying the right side of the frame moves into an almost liquid urban space, where light, architecture, and vegetation are dragged into a continuous vibration that dissolves every sharp outline.

The motion blur does not act as a simple technical effect, but as the emotional structure of the work. The scene seems to record an altered perceptual condition, in which the world loses its compactness and the subject appears simultaneously immersed and separated, present and already fading. The central perspective corridor, marked by the luminous reflection on the floor, guides the gaze forward but offers no real landing: rather, it accentuates the sensation of transit, of instability, of an interior passage.

The black and white reinforces this tension, transforming the street into a field of friction between glare and shadow. What emerges is an image that does not simply document a walk, but makes visible the precariousness of the experience, as if the movement of the body and that of consciousness coincided for an instant in the same trail.

Collect the artwork here

i don't know you enough to love you - 2024

In this image, the celestial landscape is transformed into an essential affective scene, where a few elements are enough to build a sharp emotional tension. The space is not described as a real environment, but as an interior projection, almost a private constellation where thought, memory, and language coincide.

The handwritten phrase introduces a declaration of distance that does not, however, present itself in a rigid or conclusive form. The text follows a soft, irregular path that envelops the moon and brushes against the tree, as if that realization were not a sharp border but a slow movement, still crossed by hesitation, residue, and loss.

The work thus holds together declaration and suspension. The clarity of the message is opposed by a fragile visual construction, almost worn out, in which the marks, abrasions, and the solitude of the natural elements transform the statement into something more vulnerable than assertive. What emerges is an image that speaks not only of the impossibility of loving, but of the moment when an emotional truth is finally named, while remaining exposed to its own melancholy.

Collect the artwork here

i was too afraid to tell you that you mean the world to me - 2025

Here, Mat transforms the urban landscape at sunset into a surface of confession, where architecture, sky, and writing coexist within the same affective tension. The presence of the building on the right side anchors the scene to a real context, yet the white mark crossing the image and enveloping the thin moon immediately shifts the reading to an interior plane, as if the visible space were merely the support for a thought long held in suspense.

The two handwritten phrases articulate a fractured declaration, distributed along the path of the line like a discourse that cannot utter itself all at once. The text does not occupy the composition frontally; instead, it disperses into the air, following a fragile trajectory that makes visible not only the emotional content but also the difficulty of its emergence.

The work thus holds together impulse and restraint. The glowing sky, the flight of birds, and the small lunar core introduce an almost romantic opening, immediately counterbalanced by the verticality of the building and the abrasions on the surface, which prevent the image from becoming pure idealization. The result is a composition where tenderness never coincides with lightness: it remains crossed by hesitation, distance, and delay, as if the feeling could only exist in the form of an incomplete revelation.

Collect the artwork here

Conclusion

These works demonstrate a clear continuity: the ability to transform simple images into essential emotional devices. Each piece arises from the same tension: making visible what normally remains withheld, shifting photography from a descriptive plane to an interior one.

Text, mark, and image never function separately. The words do not explain the scene, but traverse it; the lines do not decorate, but orient the gaze; blurs, scratches, and overlaps are not effects, but traces of an unstable perception. In this space, the subject does not present itself as a fully defined identity, but as a fragile, intermittent presence, often filtered by distance, hesitation, or memory.

The result is a coherent visual language, capable of holding together vulnerability and control, confession and subtraction. The true subject of these images is never just the body, the landscape, or the phrase, but the way an emotional experience finds form without ever fully resolving itself.

Every hidden emotion alters the surface before it finds a name.

Explore more of Mat Nova’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

At first glance, it is clear that Maria Fynsk Norup’s visual language is deeply rooted in the suspended atmospheres of Ærø, an island where the boundary between land and sea seems to mirror that between interior and exterior. In this corner of Syddanmark, light possesses a quality of its own: it is a light that carves, conceding nothing to the superfluous and transforming every subject into a solemn presence, just as she does with her shots.

Her portfolio is not a sequence of images, but an archive of “states of permanence”, where the Nordic imprint manifests in a formal purity that conceals, beneath the surface, a burning emotional intensity. There is a tension in this journey toward the necessity of observing that I deeply recognize: the need to protect vulnerability through a beauty that demands time and contemplation.

Maria does not photograph to document, but to retain; her images are thresholds into a world where breath slows down and the flesh becomes the medium upon which the memory of the world is deposited.

Beauty is an act of resistance that flourishes in silence and feeds on our fragility.

Curatorial Statement

Maria Fynsk Norup’s practice develops as an investigation into the sacredness of the body, understood as an emotional landscape. The influence of the Scandinavian scenery is palpable not only in the color palette but, above all, in the management of void. Each work functions as a contemporary relic, where the elements layered onto the raw shot do not serve to decorate, but to provide specific weight to feeling.

In her portfolio, the human figure loses its biographical connotation to become an archetype of emotions. The compositions are often closed and introspective, with faces partially denied or enveloped in textures reminiscent of primordial elements, inviting the observer to a necessary pause.

It is a photography that does not scream, but vibrates at a low frequency, constant yet powerful and explosive, where the grain of the image and the delicacy of the skin merge into a single, identical sensitive matter.

Selected Works

A personal selection; not of preference, but of resonance.

The following selection brings together five works from Maria Fynsk Norup’s visual journey: a constellation of significant moments, fragments that have stayed with me long after I first encountered them.

They are not presented as a retrospective, but as points of resonance where the isolation of Ærø and the tension of the body find a perfect equilibrium. Each image carries a presence that demands to be heard; a silent dialogue where fragility is never an absence of strength, but its most authentic form.

Through the looking glass - 2022

Maria places us before a mirror that does not seek to provide certainties, but questions. In this shot, vision is not an act of clarity, but of traversal. The dirty mirror becomes the physical boundary between what we show the world and what we carry within; a veil made of time, experiences, and that invisible dust that settles on the soul day after day.

This is not an image to be looked at; it is an image to be listened to. The body, so folded and defenseless behind that barrier of impure glass, speaks to us of a solitude that seeks not compassion, but recognition. Maria chooses not to clean the reflection because she knows that truth dwells in the interferences. It is in that distance between the flesh and the glass that our entire existence unfolds: a continuous attempt to find oneself, knowing that the veil separating us from ourselves will always be, tragically, too thin yet insurmountable.

Collect the artwork here

The invisible dance - 2023

In this dance, the body does not move through space; instead, it seems to want to tear through it to find a way out. Maria Fynsk Norup isolates a gesture that needs no music, for it vibrates with the very frequency of a private ecstasy, almost painful in its precision. The face, visible at the core of the tension, is not an anatomical detail but the witness to a total abandonment: it is there that one reads the weight of that invisible movement coursing through the limbs.

It is a beauty that requires no sharp contrasts to assert itself; this saturation of warmth is enough to declare its presence. The raised arms act as an architecture of resistance, a silent prayer written in the language of tendons and skin. Maria brings us inside the breath of one seeking their own form in a moment of peace, where the flesh becomes ethereal and time, finally, ceases to flow.

Collect the artwork here

Uncertain augury III - 2023

In this uncertain wish, Maria Fynsk Norup abandons the solidity of the body to explore its evaporation. The image does not document an action, but a transition: the body becomes the site of an ancient ritual, where life is read among the remains, within the scattered feathers of an interrupted narrative. There is a silent sacredness in this downward slide, a surrender that is not tragic, but possesses the solemnity of a necessary farewell.

This is not an image that seeks to hold on, but one that teaches how to let go. The fragments surrounding the figure act like notes of a fading melody, residues of an existence preparing to become memory. Maria places us at the exact moment when the weight of experience is transformed into spirit, leaving behind only the trace of a flight just begun. It is pure visual poetry, where the body is not absence, but the infinite space in which every pain finally finds its rest.

Collect the artwork here

Raw morning - 2024 (date of mint)

In Raw morning, Maria Fynsk Norup stages the solemnity of returning to oneself. Standing in this golden light is an act of pure presence. The gesture of the hand covering the chest is not merely a sign of modesty, but a ritual of self-protection: it is the body reclaiming itself, touching itself to recognize its own existence before offering itself to the world’s gaze.

There is no fragility seeking escape, but a sharp beauty that accepts its own destiny—that of being exposed, naked, and alone at the exact moment of awakening. The bowed face suggests an inner gravity, a silent dialogue between skin and thought. Maria transforms this frontal stasis into a sacred apparition, where silence becomes matter and vulnerability becomes the only possible form of strength. It is the portrait of a soul still deciding how to inhabit its own day.

Collect the artwork here

The well of stars 2 - Awakening - 2026

In this work, Maria Fynsk Norup visualizes the trauma of recalibration. It is not a poetic rebirth, but a brutal return to ground zero following illness. What we see is not a simple subject, but an echo: the “new self” attempting to reassemble while the questions, how, why, where, resonate like an unbearable background noise.

The rug does not function as furniture; it takes on the role of a final raft in a cosmic void. The artist portrays herself at the exact moment when the “old” has been released, but the “new” is still a blurred, undefined image; a projection that has yet to find its stability. It is the visual representation of an identity shock, where the only certainty is the necessity to re-calibrate to a “new normal” that is still frightening.

Collect the artwork here

Conclusion

Within this small group of works, Maria’s research moves between two necessities: solidity and permeability. The first phase of the work builds a sculptural architecture of the body, where frontal light and the rigour of the poses celebrate a presence that resists and reclaims its space; the second phase, instead, accepts the dissolution of form, where volume gives way to blurring and digital layering, transforming the flesh into a frequency vibrating in the void.

These processes do not serve to document an event, but to restore dignity to fragility: the focus shifts from aesthetic perfection to the density required to hold an emotion that would otherwise vanish. What emerges is a concept of self-portraiture that does not seek healing, but the strength of delicacy, leaving us before an image that continues to vibrate far beyond the frame of the monitor.

Identity understood not as a given, but as a process of continuous emergence from silence.

Explore more of Maria’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

Elizabedsh’s visual language manifests as a layering of silences and sudden revelations. I encountered her work by observing how the human figure, in her hands, ceases to be anatomical data and transforms into a geography of fragility. There is no aesthetic complacency, only a relentless search for what survives disappearance.

Her images operate in a twilight zone where light does not illuminate, but carves; where color does not decorate, but seems to emerge like a bruise or a held breath upon the surface of the digital paper. There is a tactile, almost granular quality that suggests a process of weathering: as if every frame had been exposed not just to light, but to the weight of years and memory.

In this negotiation between the body claiming its space and the shadow attempting to reabsorb it, Elizabedsh constructs a solemn universe. It is a tight dialogue with absence, where the artist’s gesture intervenes to hold onto the essential, transforming the portrait into an act of poetic resistance against oblivion.

The face is not a finish line, but the point where the soul begins to unravel to become an image.

Curatorial Statement

Elizabedsh’s practice is a constant meditation on non-existence through the self-portrait. She does not use photography to say “I exist,” but to insistently ask: what remains when presence withdraws?

The work develops as an investigation into the porosity of identity. The medium becomes a battlefield where the definition of contours gives way to the density of emotion. Through the skillful use of textures evoking dust, smoke, and decay, the artist shifts the focus from the subject to the sensation of her presence.

This is not photography that documents, but a vision that evokes a woman who does not exist. The figures are often caught in moments of abandonment or profound introspection, shrouded in a surreal, dreamlike atmosphere.

Manipulation does not distort to hide, but to give substance to an inner tension that accepts non-existence as the only form of truth.

Selected Works

A personal selection; not of preference, but of resonance.

The selection that follows brings together five works by Elizabedsh, chosen as significant fragments within her visual journey.

This is not a complete retrospective, nor a technical survey, but five moments of profound resonance; images that remained etched in my memory long after our first encounter.

Each work carries a density that demands time. In these images, the body and space are not separate entities, but a single matter vibrating under the pressure of light and shadow. I chose these works because they perfectly embody that tension between the desire to appear and the necessity to vanish, transforming the digital medium into a place of true emotional revelation.

Through this path, Elizabedsh’s works cease to be simple visions to become silent testimonies of an identity in constant flux.

06 - 2022

An aesthetic of subtraction. In this work, Elizabedsh erases identity to make room for pure presence. Light cuts across the shoulders like a sharp wound, a boundary beyond which everything vanishes: the face is absence; a silhouette that refuses the gaze and chooses to merge into the silence of the background. There is no face because no name is needed; there is only the weight of a figure that accepts being consumed by shadow to become an architecture of ash.

The breaking point between flesh and oblivion. The black and white does not describe a form, but records the pressure of a body about to be reabsorbed by the very matter that generated it. It is not a portrait, but the testimony of a conscious disappearance. An image that does not seek to show, but to hold the vibration of an existence that has ceased to belong to the world of features to become an indelible stain on the wall of time.

Collect the artwork here

Elizabedsh - 2024

An aesthetic of uprooting. Elizabedsh freezes the moment when torment ceases to be invisible and becomes tangible: the hand claws the skull in a desperate attempt to tear away thoughts or identity. It is an anatomy of inner fury, where the body flexes under the weight of an urgency that seeks to carve its way through the skin. There is no face, only the brutal action of a mind trying to escape from itself.

The breaking point between silence and the silent scream. The black and white is not a tonal choice, but the battlefield where light isolates the tension of the gesture, letting the rest of the self drown in a dirty shadow, heavy with debris. This is not a nude, but the testimony of a definitive stripping away: identity attempting to flay itself to finally find peace in the void.

An image that does not ask to be looked at, but to be felt like a fingernail digging into marble.

Collect the artwork here

Elizabedsh - 2025

An aesthetic of the short circuit. Elizabedsh stages the collapse of form under the weight of abstraction: the human figure is no longer a boundary, but a receptor besieged by a tangle of white marks devouring the face. It is the visual representation of an inner hyperactivity, a tumult of electrical filaments winding around the head and then escaping laterally, fraying identity into the surrounding void. The body remains motionless, hieratic, while the explosion occurs above it.

The breaking point between the flesh and the signal. The black and white acts as a seismograph: the deep black is the silence of the body, while the frenetic white of the scratches is the voice of a thought that finds no words, only space to engrave its own despair. It is not a portrait, but the testimony of a presence that ceases to belong to matter to become pure frequency interference.

An image that does not seek to show the human, but to hold the pressure of a chaos that has finally broken through the banks of the skin.

Collect the artwork here

Elizabedsh - 2025

An aesthetic of revolution. Here, Elizabedsh abandons the stasis of trauma to embrace the dynamics of flow, where the body becomes the pivot of a rotating energy. Golden trails envelop the figure like rings of light burning the face and girdling the belly, transforming anatomy into a celestial event.

The coldness of the white exposing the ribs contrasts with the warmth of the gold dancing around the flesh, suggesting a conflict between the fragility of matter and the eternity of movement.

The breaking point between gravity and evaporation. The gold is not decorative; it is an insurmountable limit: a luminous fence that protects and isolates the figure in its silence. This is not a nude, but the testimony of a soul that has ceased to be form to become a trajectory.

An image that does not seek to show a subject, but to return the luminous frequency of a body that, while remaining still, burns with an invisible and unstoppable movement.

Collect the artwork here

Elizabedsh - 2026

An aesthetic of kinetic disappearance. Elizabedsh freezes the body at the moment it ceases to be flesh to become a trail: the profile figure no longer has sharp contours, but frays into a series of luminous lines fleeing toward the void. It is the portrait of an escape from matter, where the head becomes a blinding glow dissolving into background noise. The heavy grain is not just texture; it is the sediment of time attempting to hold back a presence that is already slipping away.

The breaking point between the trace and oblivion. Black and white here does not separate light from shadow, but substance from its memory: the body is a dense shadow generating light through its own movement of flight. This is not a profile, but the testimony of a tension that can no longer be contained in a static form. An image that does not seek to fix a moment, but to return the vertigo of an existence consuming itself in the attempt to overcome its own physical boundary.

Collect the artwork here

Conclusion

Elizabedsh’s visual journey is a parabola moving from the din of existence toward the power of the void. While the surface is initially a battlefield saturated with tensions and violent material layering, the final destination reveals a maturity that no longer needs to shout.

Her poetics strips away the skin of reality to become pure conceptual inquiry, where the boundary between what appears and what disappears is the only mark necessary to describe the fragility of being. Elizabedsh does not merely observe the world; she constructs an anatomy of suspension, reminding us that intensity lies not in the quantity of details, but in the precision of their collision with the shadow where existence is denied.

Form is but the last scar left by light before turning into silence.

Explore more of Elizabedsh’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

Yamada’s journey reveals itself through the density of his early collages: saturated compositions, where every centimeter of the support is a field of forces in which bold typography and ink brushstrokes build the structure of the image. In that phase, his voice emerged through accumulation, defining complex worlds through an almost obsessive layering.

However, what prompts one to closely follow his evolution is the radical transition toward synthesis. Yamada has undertaken a path of reduction, where collage no longer serves to fill, but to isolate. If before the work was a chorus of elements, today it is a silence interrupted by a few, extremely precise grafts: a red suture, a screen-printed eye, or a body suspended against cobalt blue rocks. This transition from fullness to the minimal is not only stylistic, but philosophical: it is the search for maximum tension through the minimum gesture.

In this evolution, there is a maturity that I profoundly recognize: the ability to renounce noise to let the white space speak. Yamada’s collage has become a sieve that retains only the essential, transforming the fragment into an absolute relic, capable of supporting the weight of the entire composition on its own.

Collage is the act of making isolated fragments collide so that they are not just scraps but become structure

Curatorial Statement

Yamada’s practice is defined through the tension of digital juxtaposition, understood not as fusion, but as a collision of discrete elements. His method does not seek to hide the nature of the cutout; on the contrary, it exalts the edge and the overlap as tangible evidence of a deliberate and incessant construction process.

If his research initially moved toward a saturation of marks and textures, an accumulation that turned the support into a dense field of forces, his recent evolution marks a paradigm shift toward the economy of gesture and space.

Collage becomes a tool for isolation: Yamada selects individual chromatic or graphic fragments and arranges them, letting them breathe. In this new minimal phase, the work no longer lives through the sum of its parts, but through the void that surrounds them, transforming every graft into a point of maximum visual pressure.

Selected Works

A personal selection; not of preference, but of resonance.

The following selection gathers five works by Yamada; a small but significant constellation within her visual journey.

They are not presented as a retrospective, nor as a complete overview, but as five moments of resonance, fragments that stayed with me long after I first encountered them. Each image carries a presence that marks the transition from her initial, dense accumulation of digital layers to her current, minimal research.

Across these pieces, what stands out is the evolution of the “cut”: the shift from a collage that seeks to fill the space to one that learns to inhabit the void, letting the single fragment carry the weight of the entire composition.

Grace in motion - 2025

Yamada stages a brutal yet extremely elegant collision between the rigor of the word and the instinct of the mark. Collage is no longer a simple layering of cutouts, but a field of forces where typography ceases to be information to become architecture, a graphic skeleton upon which the gesturality of ink crashes. It is a dance of weights: the deep black of the brushstrokes seems to want to erase the text, creating a tension that the artist describes as a pursuit, an unfulfilled desire for order that succumbs to the inevitability of abstraction.

The insertion of pale green acts as a silent suture. In a visual landscape dominated by the violent contrast of black and white, the green introduces an organic temperature, a moment of breath that prevents the composition from closing into a purely mechanical rigor. The fragmentation of the poetic text adds a further layer of mystery: we are not called to read a complete sentence, but to perceive the echo of a broken narrative, where the word is a debris floating in a sea of dynamic ink. It is a work that forcefully declares the nature of Yamada’s collage: a process of layering where every layer is a held emotion, a fragment of a lost integrity seeking a new, intense cohesion.

Collect the artwork here

The watcher - 2025

Collage here acts as a cinematic editing device, where the landscape photography, cold and silent, is put into tension by the central red mass, a chromatic wound that the artist attempts to “heal” or seal through diagonal marks that mimic the gesture of suturing.

It is a work that lives on tactile and temporal contrasts. On one side, the rigor of typography and the stasis of the black and white photo; on the other, the urgency of a visceral red that stains the cleanliness of the gray background. This “stitching” is not only technical, but conceptual: Yamada is assembling pieces of different realities to find a balance that is not pacification, but forced coexistence. The black circle, a recurring element in his visual alphabet, acts as a full stop, a visual anchor that prevents the composition from falling apart. Here, the shift toward the minimal is not yet a subtraction of elements, but their hierarchization: every fragment now has a specific weight and a precise responsibility in the economy of the gaze.

Collect the artwork here

Pattern memory - 2025

In this third work, Yamada transforms collage into an almost mathematical system of weights and counterweights.

The whole presents itself as an atlas of textures: each rectangular module is an isolated cell that nonetheless communicates perfectly with those nearby, creating a visual narrative that recalls the precision of an avant-garde layout or the complexity of reclaimed fabric. It is the moment in which the artist takes total control of the “void,” not by eliminating it, but by framing it within a rigorous grid.

The transition between the watercolored checkerboard and the labyrinthine density of the black marks at the top generates an optical tension that is then resolved in the spaciousness of the large dots in the lower field. This contrast of frequencies, from micro to macro, is the true strength of the piece. The single red insert at the center acts as a chromatic compass, a residue of that visceral intensity encountered in previous works that is here tamed and put at the service of balance. Yamada is no longer just assembling fragments; he is building a universal language where the manual quality of the smudge and the precision of the digital cut coexist without friction, marking a point of definitive maturation in his journey toward synthesis.

Collect the artwork here

Don’t be a stranger - 2025

In this work, Yamada seems to address the themes of identity and memory through an almost iconoclastic decomposition. The vintage portrait, with its nostalgic weight and analog composure, is not simply “decorated” but reprogrammed. The graft of the fish-mask over the figure’s eyes immediately shifts the work to an oneiric and unsettling plane: the original gaze is denied, replaced by an electric blue pattern that transforms the face into a hybrid, a being belonging to an aquatic or digital elsewhere.

The strength of the piece lies in the contrast between the fragility of the photograph (with its yellowed edges and sepia grain) and the forcefulness of the red lines cutting across the support. These strokes of dense paint act as a structural cage, a mark indicating the point of a temporal collision. The inserted text adds an emotional and colloquial dimension that clashes with the abstraction of the red mark and the absurdity of the fish. It is a reflection on distance: between who we were and who we are now, between the fixity of the photographic past and the continuous mutation of the present. Yamada here demonstrates how collage can be a tool for psychological inquiry, capable of making the warmth of a memory coexist with the coldness of a geometric mask.

Collect the artwork here

Days of war — A step over silence - 2025

In this final work of the selection, Yamada reaches the maximum degree of subtraction. The ink disappears, the typography disappears, the material stitching disappears: only the conceptual “cut” remains. Collage becomes a device for manipulating space and gravity. By juxtaposing apparently unrelated photographic fragments, the artist builds a single, impossible body, where the abandoned arm, the man wedged between the cobalt blue rocks, and the legs suspended over the sand form an anatomy of either a fall or an ascent.

The strength of the piece lies in the intrusion of the cobalt blue of the rocks, a color so saturated and “alien” that it tears through the nostalgia of the grainy black and white surrounding it. This contrast is not merely chromatic, but temporal: it is the present pressing against the past. Yamada forces us to look at the void that separates the frames, transforming that neutral white into an active silence, charged with tension. There is no longer a need to add marks to describe anxiety or desire; it is enough to position a body between two mountains and a pair of boots in the void to declare the inevitability of our condition as suspended beings. It is the perfect conclusion to a journey that, having started from the noise of accumulation, arrives at the absolute power of visual silence.

Collect the artwork here

Conclusion

Yamada’s visual journey is a parabola that moves from the din of accumulation toward the power of the void. If in the early works the surface is a battlefield saturated with ink, typography, and violent chromatic layering, the final destination reveals a maturity that no longer needs to shout.

Collage strips away its material skin to become pure conceptual editing, where the "cut" between images is the only mark necessary to describe the tension of existence. Yamada does not simply assemble fragments; he constructs an anatomy of suspension, reminding us that intensity lies not in the quantity of marks, but in the precision of their collision.

The image is not a destination, but the residue of what has survived its own demolition.

Explore more of Yamada’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

Olya's visual language moves within that fascinating territory where photography ceases to be a proof of the real to become a surface ready to be shaped. I encountered her work by observing how the lens, and her eye, capture not only the body but also the landscape, not to fix them in time, but to offer them to a subsequent metamorphosis.

There is no simple submission to the software, but a vibrant collaboration between the original shot and a subsequent photomanipulation that acts as a reagent capable of bringing out the deep structure of things. There is a vital force in this process that I find extraordinary, precisely because it is distilled through a rigorous chromatic range. Olya almost always chooses the silence of black and white, the austerity of grays, or the tactile nostalgia of sepia. This subtraction of color allows light to become pure matter: pixels become grain, dust, or metallic reflection, transforming her subjects into a vision that appears simultaneously ancient and futuristic.

Her practice does not distort to hide, but to reveal a meaning that the naked eye alone could not grasp. In this constant dialogue between the imprint of real light and digital intervention, the artist builds a universe where every subject is captured at the exact moment of its maximum visual tension.

Photography is the trace of what exists; manipulation is the breath of what the image wants to become.

Curatorial Statement

Olya’s research is defined through a discipline of the essential that transforms the photographic act into a process of construction. In this space, the artist operates a systematic digital translation: photography is never the final destination, but a sensitive matrix subjected to a methodical tension to isolate its weight and grain. Whether dealing with human anatomies or natural horizons, the image loses its documentary function to acquire the solemnity of a relic, where every shade of gray becomes a solid volume, a mass that occupies space with authority.

In the processing stage, the boundaries between body and landscape tend to blur, not through poetic fusion, but through a shared belonging to a material that appears both ancient and technological at once. Every added gesture is a layering of intentions: Olya does not distort reality to distance herself from it, but to reveal that “backbone” of the visible that natural optical data tends to hide beneath the surface of color.

This practice suggests a profound reflection on memory and the persistence of the image in the digital age. Olya’s works do not seek the immediacy of the screen; on the contrary, they seem to resist the speed of contemporary vision, requiring a slow observation time to allow the details submerged in shadow to surface. It is an inquiry that explores the solidity of the void and the silence of materials, demonstrating how technology, when guided by an almost sculptural rigor, can restore to photography that gravity and mystery belonging to things destined to remain.

Selected Works

A personal selection; not of preference, but of resonance.

The selection that follows is not intended to be an exhaustive retrospective, but a collection of resonant moments: five fragments that have imprinted themselves on my visual memory for their ability to challenge the very nature of photography. In these works, Olya’s practice shows us how the digital can act as a scalpel or as a mist, depending on the narrative’s necessity.

I have chosen these pieces because, in my eyes, they represent cardinal points of her research: from the solitude of landscapes that seem to await an imminent event, to the vulnerability of bodies that manipulation transforms into architectures of light and shadow. In each of these images, the choice to subtract color is not a limitation, but an open door toward a cruder and more sincere depth.

on the corner - 2022

In this work, Olya cancels every escape route. The building is no longer an object within the landscape, but becomes the landscape itself: an infinite grid of concrete that saturates the frame, expelling the sky and forcing the eye to confront a blind surface. It is an architecture that becomes a horizon, a total geometry that allows no pause.

Within this mineral rigor, the trees break through like heavy shadows, spots of absolute black clutching the facade. Here, photomanipulation does not serve to describe nature, but to transform it into an element of disturbance that corrodes the perfection of glass and stone. The digital grain merges the matter of the leaves with that of the walls, creating a hybrid substance where the organic and the artificial struggle for the same space. There is no air between the branches and the windows, only a density of grays and blacks that conveys the sensation of a suffocated breath. It is the portrait of a silent siege, where the strength of buildings is tested by the dark insistence of that which is alive.

Collect the artwork here

behind the feelings 1 - 2023

Here, Olya stages a radical integration between the human figure and nature, where the body is no longer a boundary but a fertile ground. The figure, caught in a twist that heightens muscular tension, does not merely endure the presence of flowers: it seems to generate them. The skin, rendered with a lucidity reminiscent of wet stone, becomes the medium upon which an organic explosion of petals and stems is grafted.

Contrast is the true engine of the narrative. The absolute black of the garment acts as a gravitational void, an abyss from which nature attempts to emerge, while the range of mid-grays envelops the scene in a suspended, almost timeless atmosphere. Digital manipulation intervenes to dissolve the separation between different materials: flowers lose their decorative delicacy to acquire the same gravity as the body. There is no distinction between the fiber of the muscle and that of the petal; everything merges into a single organism breathing through contrasts.

It is a portrait of beauty that does not fear hybridization, finding in the fusion with the floral element a sculptural and monumental force, much like feelings striving to emerge.

Collect the artwork here

steady - 2023

The monumentality of a rocky massif is transformed into a reflection on the fragility of presence. The image does not simply describe a place but captures its silent persistence. The central rock, grimy in its struggle against the gravity of the underlying blacks, rises like a primordial altar where time seems to have settled into harsh, jagged forms.

In this solemn vision, the tiny human figures, reduced to pure black and graphic silhouettes upon the summit, do not conquer the landscape but measure its immensity. Digital manipulation intervenes to layer large, semi-transparent “sheets” that fragment the vision, like fading memories or obstacles hiding the completeness of reality. The marked, tactile grain turns the work into an almost sculptural object, a fragment of time and matter where artificial geometric order attempts to contain indomitable organic chaos. It is a geography of waiting, where the human presence is but a transitory shadow upon a mineral persistence that will outlive us.

Collect the artwork here

strength and weakness - 2024

In this work, Olya stages a moment of suspended vulnerability. The figure, huddled in a precarious balance on a pouf, hides her face in a pose that is simultaneously introspection and resistance. The black and white exacerbates the tension: the light skin and the lace top are a point of light struggling not to be absorbed by the deep, solid black of the base.

Within this taut silence, the repetitive motif of dandelions intervenes as a calligraphy of time and lightness. These flowers, symbols of desires scattering in the wind, invade the space, overlapping the figure like intrusive thoughts or fragmentary memories. Manual and digital manipulation fuses flesh to paper, transforming the scene into a rough, layered relic. It is the portrait of a soul seeking its own stability while the world around, made of volatile symbols and torn edges, continues to disperse and reconstruct itself.

Collect the artwork here

dim - 2025

n this composition, Olya abandons her usual subjects to find refuge in the intimacy of a domestic fragment. At the center of a universe made of crumpled paper and tissue yellowed by time, a window opens like a dark eye onto a motionless exterior. It is not a view that invites exit, but a frame that imprisons the gaze, making the landscape outside, composed of dry branches and mist, a distant and inaccessible memory.

The contrast between the rigorous photography and the small, trembling drawing of a house, placed almost like a seal at the bottom, tells of the distance between the dreamed refuge and the reality of solitude. The warm tones of the background clash with the coldness of the photographic black, while that pinkish halo surrounding the glass seems like the last trace of a fading human warmth. Here, manipulation becomes an act of preservation: gluing, overlapping, and drawing are necessary gestures to hold onto the image of a house that is no longer a physical place, but a state of mind layered beneath sheets of paper and silence.

Collect the artwork here

Conclusion

The journey through Olya’s works is configured as an immersion into a modern digital and material palimpsest. We are not faced with mere photographs, but with sedimentations of meaning where the original image is only the first layer of a more complex investigation. Whether it is the monumentality of a body turning into a flower, the cold geometry of a building expelling the sky, or the fragility of a crumpled paper clipping, the common thread remains the resistance of form.

The rigorous use of monochrome and grayscale is not a subtraction, but an enhancement: by eliminating the noise of color, Olya forces the observer to confront the grain, the light that wounds the surfaces, and the shadow that devours them. Her manipulation is an act of visual sculpture that transforms the pixel into tactile substance, making each work a relic of a present already become memory. In this catalog, architecture, nature, and the human cease to be separate entities, merging into a single, coherent geography of silence.

Not just an attempt to stop time, but to show upon the surface the emotion of the invisible.

Explore more of Olya’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

I encountered Ernesto Asch’s work while navigating the vast ocean of art on Tezos, where his nearly one thousand pieces appear not merely as a series of files, but as frames of an irrepressible impulse. In a digital landscape often dominated by clean lines and the search for perfection, Ernesto’s painting struck me for its wild and undisciplined nature: his works do not seem composed, but rather expelled, born from a necessity to demonstrate his love for art through a continuous, hand-to-hand struggle with virtual space.

There is a vibration in his journey that I recognize deeply: the idea that the creative act is not a destination, but a way to surf one’s own inner current. Ernesto does not paint to describe the world, but to avoid being submerged by his own flow. It is a painting of pure instinct, where the technological medium is not a constraint but a sensitive membrane recording the speed and pressure of a gesture that carries the same urgency as Art Informel.

In this sea of abstract forms, every work is a testament to resistance. It is not about choosing the perfect piece among thousands, but about accepting that his entire body of work is a single, grand kinetic movement. I have observed how Ernesto manages to dwell within the instability of color, transforming experimentation into a sanctuary and, simultaneously, an open challenge to staticity.

Painting within the flow means accepting that the hand always arrives a split second before the thought.

Curatorial Statement

Ernesto Asch’s practice takes the form of an obsessive investigation into the resistance of matter, whether it consists of viscous pigment or synthetic light. For him, the medium, be it physical or digital, is never a mere technical choice but a territory of friction. Each work is born from a hand to hand struggle between the instinct of the gesture and the response of the surface. Ernesto does not compose; he attacks the space with the ferocity of an abstraction that needs to settle, layer, and finally explode. In his hands, color is never a decorative element but a living substance, a knot of energy seeking to give structure to the chaos of his creative flow.

The heart of his research lies precisely in this creative bulimia that becomes a method. Ernesto does not seek the definitive work but uses each piece as a surfboard to stay afloat within his own visual tide. It is an art capable of accepting the risk of shipwreck, where beauty emerges not from composition, but from the tension of a precarious equilibrium maintained at high speed.

In his hands, abstraction becomes the chronicle of a perpetual movement, a testament to how the love for art can transform into a tireless engine that generates nearly a thousand worlds just for the sake of continuing to run.

Selected Works

A personal selection; not of preference, but of resonance.

Selecting five pieces from the nearly one thousand works Ernesto Asch has minted on Tezos is an exercise in subtraction that feels almost violent. It is not about isolating the best pieces, but rather identifying those fragments where, for me, his creative flow has left a deeper mark, a sediment that resists the speed of his surfing.

In this vast archive, the individual work loses its claim to uniqueness to become part of a collective organism, a breath that repeats constantly between color and experimentation. The works that follow were chosen because they capture a moment of truth within that irrepressible motion. They are the points where his painting ceases to be movement and becomes a testament.

To enter this selection means to accept observing the pulse of an artist who refuses to stop.

THE INNER COMPLICATIONS OF THE ANIMAL SELF I - 2023

The work emerges through a layering of cold and deep tones, where black and night blue are not backgrounds but volumes pressing against the surface. Here, an electric darkness dominates, torn apart by flashes of pure, almost sharp white and ochre yellow that act as slits of light within a dense matter. The composition seems to vibrate due to a propagation of organic forms that self generate, expanding with a force that appears, indeed, out of control.

It is not an inert object but a difficult interlocutor with whom to argue in the silence of the night.

In this work, the tension described in the caption becomes visible in the struggle between the center of the image and its edges. Ernesto speaks of entities that think they have the right to control me. Visually, this translates into those dark, propagated masses that seem to dictate the rules of the space, challenging the artist’s intention. The beauty of the piece lies in this nocturnal negotiation, where the raw inner material takes over, transforming the argument with the work into a form of truth that asserts itself upon the canvas.

Collect the artwork here

CUANDO NOS ENCONTRAMOS 001 - 2024

An architecture of pure kinetic tension, a tangle of electric filaments where blue and red dominate the structure, acting as the main players of an energy that seems to propagate through sudden discharges and dialogues with black and yellow.

There is no room for calm. It is a cold and violent contrast, where white intervenes only as raw light to mark the points of maximum pressure of the gesture.

The work is the visible frequency of an impulse that refuses to be extinguished.

The composition denies all staticity. At the center, the marks accumulate in a very dense core, a mass of digital nerves that seem to vibrate and overlap in a continuous hand to hand struggle. Towards the edges, the structure frays, letting the individual strokes become residues of a movement that has already moved on. The strength of Ernesto’s work here lies in the precision of the mark. Each line does not describe an outline, but records the speed of a creative flow that finds its only battlefield in the dark.

Collect the artwork here

ENTIDADES DEL TRÓPICO - 2025

The work is a digital ecosystem in collision, where organic nature is absorbed by electrical interference. The palette is dominated by an acidic electric blue that saturates the space, contrasting with the static black silhouettes in the foreground and gashes of pure white. The only external chromatic accent is red, which traces the contours of stylized faces, similar to ghosts or silent observers trapped within the signal.

The image is not a panorama; it is the capture of a corrupted signal where the eye searches for a face among the frequencies.

The structure lives on the contrasts between the sharpness of the graphic mark and the distortion of the glitch. Ernesto layers the visible: the solidity of the trees at the base fades into a sky of fragmented data and blocks of light. The red faces, scattered without a hierarchical order, transform the abstraction into a psychological narrative. They are presences that emerge from the disturbance, making the composition a field of digital surveillance where the boundary between the natural and the synthetic is definitively erased.

Collect the artwork here

L057 516N4L - 2026

This painting appears as a portrait in digital decay, where identity is crushed under the weight of a corrupted signal. The palette, dominated by a metallic and livid grey, is violated by strokes of raw red that act as electrical slits on the surface. There is no clean image, but rather a layering of noise where the human face I can perceive is now a deformed echo among the pixels.

The work does not portray a subject, but rather its resistance to oblivion in a world of deteriorated data.

In this piece, Ernesto seems to my eyes to explore the fragility of presence. The structure is an accumulation of visual debris. The red lines do not decorate; they incise the figure, highlighting a tension between the flesh, evoked by the livid tones, and the code. The beauty resides in the ferocity of the disturbance, in that grain that makes the image almost tactile and dirty. It is the capture of a moment of collapse, where the love for art transforms into a struggle to remain visible in the midst of an interference that erases everything..

Collect the artwork here

LO QUE PARECÍA FIESTA RESULTÓ SER PANDEMIA - 2026

A swarm of fragmented identities fighting for vital space. The palette is a head on collision between the saturation of orange and yellow and the psychedelic depth of purple. The heavy and visceral black line acts as a cage attempting to contain a multitude of faces and bodies that seem to slide into one another in an organized chaos.

The painting is the white noise of an inner crowd that finds no silence.

In this work, Ernesto brings the flow to its maximum degree of saturation. The structure is a mosaic of distorted human expressions where the eye is bounced from one profile to another, stumbling upon blue digital interferences that break the continuity of the mark. It is a raw and vibrant representation of contemporaneity: an accumulation of stimuli, gazes, and distortions where beauty resides in the brute force of color and the density of a narrative that denies any vanishing point.

Collect the artwork here

Conclusion

The investigation into Ernesto Asch’s works highlights a research that oscillates between the decomposition of the signal and the saturation of form. The selection traverses opposing chromatic territories, moving from the cold precision of electrical vectors to the organic density of warm and figurative masses. The common thread is not a superficial aesthetic coherence, but the persistence of a visual noise that transforms the digital medium into a space of permanent collision.

Ernesto’s work denies staticity. Each image is the result of a layering of data and gestures that never seek a harmonious resolution, preferring the tension of the glitch and distortion. This navigation within the flow materializes in an archive of fragmented identities and unstable architectures, where beauty is strictly linked to the image’s ability to resist its own corruption.

The work is not a finished form, but the density required to record its acceleration.

Explore more of ErnestoAsch’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

I first encountered Nathalie’s work during my journey through the abstract artists of the Tezos ecosystem. What opened before me was a world of marks that do not seek clarity but rather disrupt the very space they inhabit. Her works are not mere abstract compositions. They are accumulations of gestures, layers of color and ink that seem to test the limits of the medium’s resistance.

Over time I have observed her process rooted in density and overlap. Each image functions as a force field where brushstrokes, scratches, and ink drips mingle, cancel each other out, and are rewritten until they form a vibrating matter that carries the weight of pictorial intent. What strikes me is how Nathalie often works through addition. Each mark summons another in a cycle of continuous transformation, shifting the focus from the void of the support to the fullness of the trace.

Nathalie uses painting as a tool to give body to a tension that accepts no compromise. In her works the chromatic masses are duplicated, obscured, and incised to become echoes of an inner pressure, transforming the surface into a palimpsest of sedimented energies.

The mark does not describe the form but the pressure required to evoke it.

Curatorial Statement

Nathalie’s work develops as an investigation into the existence of the trace through chromatic and material layering. Her practice is not based on representation but on the very act of inhabiting the surface through color, understood as a structural rather than decorative element. In this scenario, abstraction becomes a territory of friction where every brushstroke is a statement, an accumulation that denies transparency to assert the physical presence of the work.

Her method is built through a process of visual sedimentation: layers of pigment and ink overlap with fast, almost electric graphic marks, creating a depth that is not provided by perspective but by the conflict between different levels of matter. Nathalie attacks the support without seeking a harmonious resolution; on the contrary, she allows the drips and encrustations of color to become an integral part of the work’s syntax. It is a painting that lives on violent contrasts and precarious balances, where black often intervenes to delimit or suffocate the underlying chromatic vibrations, acting as a centripetal force that holds the chaos together.

What defines Nathalie’s poetics is the management of density. There is no room for rarefaction: even where the mark seems to become thinner, it retains an energetic charge that speaks of an uninterrupted process. Each work is a palimpsest of overlapping states, an archive of gestures where error, smudging, and the overexposure of color are not accidents but the hinges of a narrative that celebrates imperfection as the only possible form of truth. In this way, the work ceases to be a finished image and becomes an open testing ground, a solid residue of a pictorial action that continues to pulse before the eyes of the observer.

Selected Works

A personal selection; not of preference, but of resonance.

The selection that follows is not intended to be a retrospective or an exhaustive mapping of Nathalie’s journey. It is, rather, a collection of moments of friction, a constellation of works in which I felt most intensely the artist’s ability to transform painting into a living and resilient body, starting from some works of past years that are much more traditional compared to the evolution that followed.

I chose these works because they represent points of accumulation where her language becomes denser and less accommodating. In each of these works, the pigment and the mark do not merely occupy the support but put it to the test, forcing us to confront the physicality of the gesture and the depth of the overlaps. These are not images to be consumed by the gaze but surfaces that demand to be inhabited, fragments of a pictorial action that has found its most authentic form in stratification.

Winter solstice - 2022

It is not just the representation of a season, but a condition of the soul. Here, blue ceases to be a color and becomes silence, a cold that does not wound but protects, fixing the moment in which time stops to allow light to find itself again.

The work vibrates like a reflection imprisoned in the ice of consciousness. The white that emerges is not absence; it is a necessary passage, the held breath of one who knows how to wait for the dawn in the deepest darkness. A threshold where the heartbeat slows down to become one with the rhythm of the cosmos.

It is an invitation to pause at the edge of the void, where beauty does not seek to explain itself but only asks to be inhabited, like a house of glass in the heart of the most absolute silence.

Collect the artwork here

Emptiness 2 - 2023

The mint green saturates the surface with an absolute stasis, a flat calm that allows no depth or variation. It is a dull expanse, a visual silence that occupies the field without offering any foothold. Upon this immobility the black opens up. It is not a constructed mark but a brutal void, a lack that tears through the continuity of the color. It is the exact point where the image breaks and nothingness takes shape, acting as a chasm that consumes the surrounding space.

In this scenario of deprivation the red traces emerge like tears. They are minimal drips, residues of a pain that fails to take form but testifies in its fall to a real suffering deposited on the coldness of the background. There is no trace of chaos, only the ruthless precision of a trauma that has become matter. The work thus becomes the site of an irreconcilable contrast between the atonal peace of the surface and the wound of that central void, where the red remains the only sign of a presence that still pulses under the weight of absence.

Collect the artwork here

Heart - 2023

In this work the color does not coat the surface but attacks it, transforming the paper into a force field where abstraction becomes visceral. The red is not a tonal choice but a fleshly explosion, a dense mass pulsing against the dominant black, claiming a space for existence within a darkness that tries to suffocate it. The very structure of the work is defined by impact: violent brushstrokes and deep scratches gouge the fiber of the medium, making the physical pressure of the pictorial act tangible.

The white intervenes like an electric shock, a flash of raw light that tears through the density of the blacks and deep blues, bringing to the surface a tension that seeks no resolution. Each mark is an accumulation of energy, a palimpsest of gestures where transparency is denied to assert the brutal presence of the trace. There is no descriptive intent, only the will to give body to an internal pulse, transforming the paper into the solid residue of a conflict that continues to vibrate before the observer’s eyes.

Collect the artwork here

First Melody - 2024 (collab with Bajiru)

In First Melody the surface ceases to be a support and becomes the site of a violation. The dark column at the center is not meant to be a simple form but an attempt to stay upright while everything around it explodes. The red overwhelms it, not just as a color but as a sudden hemorrhage that devours rationality and occupies the space with the force of a scream. It is the exact moment where control gives way to instinct.

To the right, the black shatters into a rain of splinters, a nervous expansion that accepts no boundaries. There is no harmony in this rhythm, only the truth of a gesture that scratches and stains because it needs to exist. Every spot is a racing heartbeat, every smear is proof of a pressure that pushed the matter beyond the limit. It is a melody made of interference and flesh, where beauty is merely the solid residue of a clash that continues to vibrate beneath the skin of the work.

Collect the artwork here

Monotype 94 - 2025

In Monotype 94 the absence of color shifts the focus to the pure structure of the mark. The space becomes a tangle of white textures that seem to surface from a deep black background, almost like a nervous network or an organic architecture caught in the moment of its decay. There is no room for stasis: the surface is a swarm of thin lines and chalky masses that intertwine in a convulsive movement.

The white is not light, but dense matter struggling to emerge from the darkness. In some points it compacts into closed forms, similar to cocoons or fossil residues, while in others it frays into a web of filaments that occupy the entire visual field. It is a vision that suggests uncontrolled growth, an accumulation of rapid gestures that saturate the medium until it becomes a vibrating body.

To stand before this work is to lose oneself in a density that takes one’s breath away. The sharp contrast between black and white eliminates all mediation, leaving only the raw force of a path that seems to want to map the invisible. It is a work that lives on tension and overlapping, an archive of marks where every trace is the residue of a frenetic action that celebrates complexity as the only possible form of order.

Collect the artwork here

Conclusion

Nathalie’s painting offers no answers or safe harbors. It is a ruthless investigation into the ability of the trace to resist the void, a process where every layer of color and every scratch on the paper or canvas represents a conquest of vital space. Through this selection, a journey emerges that does not seek the perfection of form but the truth of conflict: that between the instinct of the gesture and the rigidity of the medium, between the light that surfaces and the darkness that tries to swallow it.

Her works remain as solid residues of an action that does not end at the moment of creation but continues to pulse. To inhabit Nathalie’s surfaces means accepting imperfection, trauma, and error as structural elements of a language that celebrates life in its rawest and most authentic form and at the same time it is looking for harmony through the antithesis of the chaos. Ultimately, her work reminds us that abstraction is not an escape from reality but the only possible way to give it a physical measure, making the invisible pressure of feeling tangible.

Gestures that do not seek a form, but the density required to hold it.

Explore more of Nathalie’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

I encountered yKaneko’s work in a territory where digital painting does not merely use the brush but expands through the possibilities of artificial intelligence. The works in the Abstracts collection keep the human gesture as the absolute protagonist through digital painting while AI intervenes as a dynamic reagent, an added tool capable of amplifying the artist’s intuitions without ever replacing them. Here color remains a matter shaped by individual sensitivity, enriched by glows and distortions born from a tight dialogue with the algorithm.

In this research the digital acts as a laboratory of forces where artificial intelligence offers traces and interferences that yKaneko welcomes by mixing them into the pictorial drafting. There is a conscious ritualism in this practice, .transforming the screen into a field of tension where painting guides the composition and technology responds as a structural expansion.. It is a vision that accepts innovation as a means to explore new chromatic densities, choosing to give substance to abstraction through a layering where the artist’s touch remains the only possible direction.

This practice suggests a reflection on creativity understood as control and discovery. In this sense yKaneko’s works are not generated by the machine but flourish thanks to it, transforming abstraction into a territory where the urgency of the gesture meets the electric impulse of the algorithm.

Artificial intelligence is a new pigment just waiting to be spread by the painter.

Curatorial Statement

yKaneko’s research develops around the centrality of digital painting, visual geographies that integrate artificial intelligence as a tool for expanding the gesture. Using the algorithm as a dynamic reagent and never as an end in itself, the artist builds scenarios that belong to a level of pure authorial sensitivity. Abstraction is treated as a field of forces where pictorial control guides every choice, welcoming computer data only to subject it to a profound chromatic and material reworking.

His work does not seem to proceed through automatisms but through a constant affirmation of the mark over the machine’s proposal. Each piece seems to spring from a controlled collision between the mastery of the digital medium and the fragmented visions offered by the additional tool, which become instruments for defining denser aesthetic territories. Here, the use of artificial intelligence is a technical support for a purely structural research, where the texture of color responds to a direction that claims its soul and individual vision.

In the context of this collaboration, yKaneko’s images do not seek to delegate creation but to empower it through new layers. What emerges is a practice that uses digital and artificial intelligence as forces capable of giving substance to the imagined, transforming the fluidity of code into a language where painting remains the only foundation capable of establishing a definitive presence.

Selected Works

A personal selection; not of preference, but of resonance.

yKaneko’s production in the Abstracts collection focuses on the creation of works where the interaction between the hand and the digital tool defines the very boundaries of the chromatic experience. In these works the image does not represent: it happens through a stratification of gestures and calculations. Each composition is an architecture of marks and contrasts that defies the static nature of the screen, presenting itself as a fragment of an emotion that finds its final form in the dialogue between the artist and the instrument.

The artworks I have selected are points of condensation where painting reaches its most intense synthesis precisely thanks to the friction with artificial intelligence. In this vitality yKaneko’s language reveals itself with absolute clarity, letting the logic of chromatic masses and the calculated distribution of luminous energies emerge. Observed in this way, these compositions become territories where the gaze can finally free itself to discover a beauty born from the symbiosis between man and technology.

Sunset I - 2023

In this image, the world explodes in a tangle of forces that seem to struggle not to disappear. We are not looking at a defined composition, but a fire of oranges and reds that appears to burn the very skin of the screen. It is a pulsing chaos, where white and black cease to be mere colors and become spaces of silence attempting to contain an energy that overflows. Every smudge and every drip suggests the presence of a gesture that has decided to defy every pre-established order to seek something more visceral and profound.

In this clash, matter appears shaken by a restless breath, a vibration that makes it unstable and alive. Those tears and interferences scratching the surface are not accidents, but signs of a tight dialogue between shadow and light, between stillness and the scream. Here, painting seems to want to accept the challenge of the unknown, transforming abstraction into a wild territory where we do not seek answers, but only the emotional impact of a vision that has no mercy for reality.

Collect the artwork here

interruption #4 - 2025

In this composition, matter ceases to be a flat surface, becoming rock, dust, and flow. The deep, vibrant blue dominating the center is not a simple color; it is an abyss that seems to pulse with its own life, squeezed between the weight of tar-like blacks and the fragility of whites stained with ash. It is a struggle between the solidity of the mark and the instability of the void, where every trace seems to drag with it the noise of a world being recomposed into new, fierce, and necessary forms.

The power of this vision lies in its almost tactile nature, in those shadow zones that appear corroded and worn by time. Those green drips scratching the left side are discharges of pure vitality, signals that break the frame’s composure to remind us that art is, first and foremost, an act of affirmation. Here, everything seems governed by a primordial force, transforming the work into a relic of a possible future where the only perceptible warmth is that which springs from the encounter between darkness and light.

Collect the artwork here

interruption #11 - 2025

In this vision, the surface ceases to be a boundary and becomes a rotating abyss. A black and blue whiplash crosses the space, a clash between static balance and the anarchy of the mark. Fragments of light are sucked into the movement, remaining suspended like debris from a world still burning. It is a chromatic collision that arises from the tension between the human touch and the digital response. It is an image that does not ask for permission to enter but invades the gaze with the force of a thunderclap resonating within the folds of thought.

The power of this work lies in that pulsing core that interrupts the flow of the gesture. It is not a disturbing element but proof that beauty is always born from friction, from a point of resistance where emotion collides with the unknown. That spot of dark red burning at the center, surrounded by a texture evocative of the noise of a broken storm, is the point of no return. Here, one does not paint chaos; one traverses it, transforming every distortion and every smudge into the prayer of one who has finally learned to look beyond the veil of form.

Collect the artwork here

interruption 17 - 2025

In this composition, silence becomes the protagonist. The pale blue background is not a mere base but a liquid sky where marks float like barely whispered thoughts. The violence of material impact is gone, replaced by a dance of thin lines and color smudges that seem to slide across the surface without ever sinking. It is an image that breathes, where every trace of yellow, pink, and red is an improvisation breaking the stillness without destroying it, creating a precarious balance made of grace and uncertainty.

There is an elusive fluidity hidden among the gradients and transparencies, a vibration that allows color to expand beyond the limits of the visible. That black line tracing an incomplete orbit at the center of the painting is the symbol of a search that refuses to close, a movement inviting the gaze to lose itself within the folds of a suspended vision. Here, yKaneko demonstrates that the artist’s strength also lies in the ability to take a step back, letting the breath of the space and the purity of the gesture tell the beauty of a world that is still learning how to give itself a shape.

Collect the artwork here

interruption 17 - 2025

There is a weight that cannot be explained, a density pressing against the gaze and forcing a silence. In this painting, the darkness is not a void but a thick and immovable substance, a nocturnal tide holding its breath and supporting everything happening above it. It is a stillness charged with tension, where the blue turns into flesh and earth, an absolute presence that seems never-ending. Above this heavy calm, the light breaks and shatters into an explosion of bright shards, where yellow and red struggle not to be swallowed, remaining suspended like debris from a world still burning.

The power of this work lies in the clash between these two souls, a border where the surface becomes gritty and beauty is born from material resistance.. Those red scratches furrowing the abyss are nervous heartbeats, signals of a vitality that refuses stasis and tries to tear a path through the dark. There is no harmony, but a tight hand-to-hand struggle between the desire to vanish and the impact of existing. Here, abstraction becomes a primordial ritual, transforming color into an act of existence that claims its truth beyond any possible explanation.

Collect the artwork here

Conclusion

In this selection, painting reduces artificial intelligence to pure pigment, a tool that does not guide the hand but submits to its direction. Every stroke of color is an action occupying the void, transforming algorithmic intuition into a physical body, heavy and vibrant. The boundary between man and machine disappears to leave room for a single chromatic substance: an abstraction that seeks to explain nothing but acts as a living organism capable of redesigning the limits of our vision.

What remains is the strength of a gesture that seeks no mediation but imposes its presence through layering and contrast. Beauty emerges as a necessary impact, where the digital ceases to be a simulator of reality to become raw material, shaped and wedged until it becomes solid. It is proof that technology does not replace the heart but amplifies its scream, giving us back an image that seeks no mediation.

Here vision is not a waiting, but the violent act of existing beyond the code

Explore more of yKaneko’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

I encountered Vaila My’s work in a territory where landscape is not a geographic fact, but a synthetic construction. Her scenarios do not belong to reality: they are architectures of forms, light, and cutouts that occupy space with the strength of a new possible world. It is not a nature to be contemplated, but a nature generated through electric discharge and interference.

In her works, the horizon is never a physical boundary, but a vibrant entity that fluctuates without ever anchoring itself to a natural certainty. There is an electric ritualism in this research, transforming the screen into an unstable surface where the sea, the earth, and the sky seem to belong to a matter in continuous rewriting. It is an investigation into pure perception, a seeing that accepts the impossibility of mapping the world, choosing instead to invent its substance through glimmers and distortions.

This practice suggests a reflection on vision understood as genesis. In this sense, Vaila My’s works do not document existing places: they found new ones, charged with a latent energy that unhinges every known coordinate.

Some landscapes don’t want to be mapped. They want to be felt.

Curatorial Statement

Vaila My’s research develops around the foundation of spaces that do not exist, geographies born from the tension between the cutout and the luminous discharge. Using digital tools and a color palette that defies natural verisimilitude, the artist constructs scenarios that belong exclusively to the plane of generated vision. The landscape is treated as matter to be dismantled and reassembled to investigate new possibilities of occupying visual space.

Her work does not proceed by imitation, but through the montage of interferences. Each piece seems to spring from a collision between forms and light that become tools for defining territories never mapped before. Here, the reference to landscaping is a pretext for purely structural research, where the horizon and the earth are architectures of pixels responding to their own physical laws, far from any real geographic coordinate.

In the digital context, Vaila’s images do not seek to describe the world, but to institute a new one. What emerges is a practice that uses the digital as a reagent capable of giving body to the imagined, transforming synthetic fluidity into a language made of glimmers, chromatic masses, and reinvented horizons.

Selected Works

A personal selection; not of preference, but of resonance.

Vaila My’s production focuses on the creation of landscapes where the interaction between light and electrical distortion defines the very boundaries of the territory. In these works, the image does not move: it vibrates. Each landscape is an architecture of forms and cutouts that challenges the traditional laws of perspective, presenting itself as a synthetic fragment of a world that exists only within the digital signal.

The works I have selected are not captures of a pre-existing reality, but points of condensation where the digital process reaches its most intense formal synthesis. In this stillness, Vaila My’s language reveals itself with absolute clarity, allowing the logic of the cutouts and the calculated distribution of masses to emerge.

Observed in this way, these compositions become places where the gaze can reconstruct an entire hypothesis of a world. They are moments of high tension where light does not illuminate the space, but founds it, allowing the viewer to traverse these invented geographies without the distraction of time.

UNCOASTAL - The Tide Pulled it Out of Me - 2025

In the presence of this work, we must abandon logic and surrender to its electric silence. The sea is no longer water; it is a hypnotic cadence of black ink supporting the impossible: a dark island pulsing beneath the gravity of abstract monoliths. Those pillars of dots and stripes are not mere ornaments; they are the scars and the very bedrock of a land that requires no reality to exist.

Everything is bound by that strip of saturated red bleeding across the horizon. It is a hue that belongs not to a sunset, but to a surge of pure energy cleaving the vision in two. In this friction of cutouts and contrasts, nature is forged anew. There is no room for nostalgia; here, beauty is born from the audacity of assembling disparate fragments to found a realm where the gaze can finally wander, compassless, through a geography of glimmers and raw intuition.

Collect the artwork here

UNCOASTAL - Low Signal Waters - 2025

In this work, the landscape ceases to be a mere setting and becomes an architecture of the void. A stark fissure, a path of pure graphic interference, cleaves through the expanse of the sea, leading us toward an elsewhere we cannot measure. This breach is not a natural occurrence but an electrical incision revealing the artificial substance of vision: a ribbon of black and white snaking through the waves until it transforms into a flare of flaming red at the very heart of the horizon.

In the distance, a ghost city emerges like a heap of grey pixels, a cathedral of digital debris seemingly dissolving into the pallor of the sky. There is no life in this horizon, only the surgical precision of a montage that defies depth and reinvents the concept of distance. It is a geography of absence, where color, the acid yellow surfacing in the foreground and the red piercing the center, acts as a warning signal, a reminder that every beauty in this new world is a fabrication of the code.

Collect the artwork here

UNCOASTAL - Stacked Against Storm - 2025

In this vision, there is no room for stillness. The power of the wave is not a natural event but a sculpted mass colliding with violence against monolithic blocks. These rectangles of synthetic matter, digital marbles, and planes of pure red rise like an impossible dam within the folds of the ocean. Do not look for depth; instead, let yourself be swept away by this theater of tensions where the sea becomes a chromatic battlefield.

The spray of the wave, with a grain evocative of a flickering video signal, appears frozen at the precise moment of impact. It is here that Vaila My’s work strikes its deepest chord: the ability to arrest time to show us the very bones of an invented landscape. The contrast between the darkness of the abyss and the acid brilliance of the geometric forms creates a precarious balance, a threshold where nature ceases to be biological and becomes a pure event, an aesthetic scream piercing the silence of the code.

Collect the artwork here

UNCOASTAL - Loom and Doom - 2025

In this vision, the landscape undergoes a definitive interruption. A massive red rectangle, dense and devoid of shading, imposes itself in the foreground like a wall preventing us from reaching the dark pebble beach. It is not an object resting on the earth, but a visual negation claiming the supremacy of the artificial over the real. Above it, the sea and the leaden sky are pierced by grids and linear structures that seem to support the clouds like scaffolding for a world under construction.

The power of this work lies in the clash between the softness of the vapor and the geometric rigor of the digital mark. The grey clouds are imprisoned between white and black lattices, transforming the atmosphere into a calculated architecture. Here, Vaila My shows us that a pure horizon no longer exists: every gaze is mediated by an invisible structure that now becomes overt, a signal rewriting nature piece by piece. It is an image charged with suspended energy, where the red does not illuminate but screams its presence, forever separating us from the nostalgia of the physical world.

Collect the artwork here

Archipelago of Air - 2025

In this vision, we lose every coordinate. There is no shore to welcome us, only a mass of rock and ice seemingly torn from a solid world and abandoned at the center of the screen. This floating island is a mosaic of graphic memories: stone blends with data grids, planes of electric red, and textures evocative of forgotten maps. It is a territory that does not seek to be trodden upon, but only decoded.

The sea, calm and deep, silently observes this collapse of matter. Above it, the sky is no longer air but a bare, white space, interrupted only by blocks of absolute black and interferences falling from above. In this composition, Vaila stages the fragility of the visible: the landscape becomes an archive of fragments ready to disintegrate. Beauty here lies in the vertigo of suspension, in that precise moment when the imagination decides to found a new world, however unstable, right above the void.

Collect the artwork here

Conclusion

Vaila My’s research finds its fulfillment in this radical detachment, where the landscape ceases to be a legacy of the physical world and becomes an architecture of pure thought. We are no longer spectators of a shifting nature, but witnesses to an act of foundation that uses the digital as a reagent capable of giving body to the imagined. Every image is a point of condensation where the precision of the cutout and the violence of the luminous discharge collaborate to institute a geography that does not seek our approval, but rather imposes its presence upon us.

In these scenarios, beauty is not a comfort but a conquest born from the tension between the void of the code and the density of color. What remains, at the end of this journey through reinvented horizons and suspended masses, is the realization that vision can finally dispense with the real. Vaila My delivers a world where the artificial is no longer a simulation, but the only vibrant substance in which it is possible to trace the sense of a new, potential infinite.

Geographies that do not seek the place, but its light.

Explore more of Vaila My’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

I encountered Mime’s work by chance in a digital space where images are often reduced to mere surfaces or rapid consumption. Amidst that visual friction, his works imposed themselves with a different quality: they did not ask for attention, they held it. His language, built through collage and the manipulation of paper, preserves a physical tension that resists the typical de-materialization of the NFT environment.

In Mime’s work the human figure is never represented as a finished identity. It is fragmented, recomposed, at times concealed. Faces become unstable territories crossed by signs that seem to originate from different times and cultures. There is a constant dialogue between archaic gesture and contemporary sensitivity in the animation, between ritual and intuition, making each image a threshold rather than a finished object.

This practice, rooted in manual skill and transposed into the digital realm without losing its material force, suggests a broader reflection on seeing: not as an immediate act, but as a slow process made of layers, erasures, and returns. In this sense, Mime’s works do not merely show: they make emerge.

Some images don’t want to be understood. They want to be approached.

Curatorial Statement

Mime’s research develops around a primary gesture: intervening on the image to strip it of stability through animation. Using collage, cutting, and recomposition, the artist constructs figures that do not aspire to a definitive form but remain in a state of continuous tension. The face, a recurring element in his practice, becomes a field of experimentation where identity, memory, and archetype overlap without ever fully coinciding.

His work does not proceed by narrative accumulation but through visual layering. Each intervention seems to respond to a necessity internal to the image itself, as if the material, paper, photography, surface, suggested the next gesture. In this process, the reference to ancient and ritual iconography is never a direct quote but an echo, a latent presence that traverses the works without anchoring them to a precise time.

In the transition to digital and the NFT context, Mime does not renounce the physical dimension of his language. On the contrary, he transports it. The works retain evident traces of manual touch, imperfection, and resistance, opposing the cleanliness and speed typical of digital imagery. What emerges is a practice that uses the digital not as an end, but as a resonance space for a deeply analog gesture.

For me, Mime’s work stands as a reflection on contemporary seeing, a vision that does not consume the image but traverses it slowly, accepting its fractures, omissions, and zones of silence.

Selected Works

A personal selection; not of preference, but of resonance.

A significant part of Mime’s production, visible on his profile, develops through animation. Movement in these works does not have a narrative function in a strict sense, but acts as an extension of the manual gesture, amplifying the internal tension of the images and making unstable what already appears fragmented.

The selection presented here focuses instead on static works, which I consider as entry thresholds rather than definitive outcomes. Even when they derive from animated works, these images function as autonomous previews, capable of holding the complexity of the process within a single frame. It is in this suspension that Mime’s language shows itself with greater clarity, letting the structure, rhythm, and layers that precede the movement emerge.

Observed in this way, static images do not oppose animation but anticipate it. They become points of condensation, places where the gesture momentarily stops to allow the gaze to linger, reconstruct, and traverse the work without being guided by time.

THE FAILURE - 2022

The figure emerges like an artifact, but it does not ask to be recognized. The profile, taken from a very old image from a book from the 1940s, carries with it a memory already layered even before the artist’s intervention. Originally, this work was born as a frame of a video performance, an image destined for movement and transformation over time.

The face is crossed by elements that alter its legibility. A dark plate covers the eye, while thin black painted threads slide from the mouth, as if the body were traversed by a silent force, unable to articulate itself into language. The initial result, however, does not satisfy the artist. The image remains unfinished, unresolved. It is at this point that the decisive gesture intervenes: combustion.

The burnt edges are not an aesthetic effect, but the trace of a failure accepted and transformed. Fire acts as a tool of selection, eliminates what does not work, and lets a new visual intensity emerge. A fragment of blue surfaces at the center of the composition, an unexpected residue that breaks the monochrome and introduces a silent tension, impossible to trace back to a unique meaning.

In this work, Mime explores failure as a possibility. The image ceases to be a successful or unsuccessful performance and becomes a place of transformation. Burning is not destroying, but refining. What remains is a fragile and irregular presence, an image that bears visible traces of the process and affirms that, sometimes, it is precisely the error that makes the work necessary.

Collect the artwork here

mirror|ɿoɿɿim - 2023

The work does not seek union but inhabits the rift between two identities that touch without ever becoming one. Mime’s gesture intervenes like a blade: a clean cut sections the profile, creating an interlocking of shadows where the face ceases to be a portrait to become a boundary. It is not a dance, but a silent friction between backs that deny each other, within a geometry of the body that seems to hold its breath between the rough fibers of the paper.

In this architecture of signs, the body renounces the gaze to become pure material presence. The grain of the surface resists the cleanliness of the digital, returning the weight of a figure that doubles and recomposes itself in a suspended time. It is an image that does not narrate a story, but describes a state: that of an identity that accepts its fragmentation as the only possible form of existence.

At the center of this precarious balance, a shard of blue surfaces. It is a foreign fragment, a scale of color held between the fingers like a secret or a defense. This small chromatic epiphany breaks the rigor of the black and white, acting as an anchor for the gaze. It does not explain the mystery of the split, it illuminates it; it is the residue of a light that prevents the figure from fading completely into the shadow, leaving it there, still, on the threshold of its own incompleteness.

Collect the artwork here

HIDDEN LOVE - 2023

Identity here is not fragmented but submerged. The face disappears behind the eruption of a mineral matter that does not merely cover, but seems to replace thought. It is an image that lives of a silent weight, where the hand does not try to push away the obstacle but supports it with ritual resignation. The body becomes a pedestal, an organic support that accepts the intrusion of the inanimate as a new form of face.

In this layering, the boundary between the human and the archaic becomes porous. The grainy texture of the photograph blends with the veins of the stone, nullifying depth and transforming the subject into an artifact. There is no room for expression: the face, concealed, renounces its function as a mirror to become sculpture. Skin and rock share the same chromatic temperature in an embrace that seems to want to protect interiority from a gaze that is too rapid.

Beneath the weight of the mineral, a thin line of blue light pierces the composition. It is an electric sign, a ray that cuts through the silence of the stone and connects the shadow of the neck to the external world. This ray does not illuminate, but carves: it is the exposed nerve of the work, the only trace of a vitality pulsing under the immobile surface. In this encounter between the millenary weight of the rock and the surgical precision of the digital, Mime stages the paradox of vision: one can truly see only what one accepts not to be able to look in the face.

Collect the artwork here

SCORPIO - 2024

The image unfolds as a muscular tension seeking space in the void. Here the body is no longer a static temple or a concealed portrait, but a dynamic architecture, captured in a movement that seems like the beginning of an escape or the culmination of a metamorphosis. Mime’s gesture intervenes with a layering of textures and patterns that do not clothe the figure but redraw its musculature, transforming the skin into a hybrid surface made of weaves and hints of other faces.

In this composition, identity dissolves into an overlap of fragments that deny physiognomy to exalt energy. The face is covered by a paper mask that holds fragments of another mouth, of another skin, suggesting a plurality of selves coexisting in a single impulse. It is a pulsing collage where the stability of the image is constantly undermined by an internal force pushing outward, making the figure an unstable entity caught in the precise moment it ceases to be form and becomes action.

Dominating the tension is a single vanishing point: a taut line culminating in a small blue sphere, suspended like an electric anchor. This luminous insert acts as an artificial center of gravity, a signal that crosses matter and connects the body to the digital dimension. It is not a decorative element, but the optic nerve of the entire work: a point of light that stabilizes the chaos of the collage and projects the figure beyond the physical limit of the paper. In this play of weights and transparencies, Mime gives us a body that does not let itself be watched, but forces us to follow its shock.

Collect the artwork here

TOMORROW_05 - 2025

Identity here is a scaffold that gives way under the weight of an invisible wind. The face disappears, not by erasure, but by the accumulation of visual debris: triangles of paper that strike the features like sudden gusts. The title itself evokes a change, suggesting that the concealment is not a violent act, but a natural, inevitable event. The human figure accepts this invasion of sharp edges, becoming the place where the interior landscape and the external matter collide.

In this collage, Mime works on the overlapping of times and textures. Above the photographic base stand fragments that seem torn from different skies: one dark and absolute, the other cloudy and material. Among these, a scrap of white paper emerges with typewritten text, a residue of language surviving the visual storm. It is the fragment of an interrupted narrative, a voice trying to name the phenomenon while it is already transforming the face into a new, irregular architecture.

At the heart of this turbine of paper, almost hidden under a fold, pulses the inevitable blue shard. It is a small electric flame resisting the grey, a point of digital heat signaling the presence of a vigilant consciousness behind the mask. In this work the blue is not an anchor, but the energetic core holding the entire system together. It reminds us that, despite the decomposition and the wind agitating the form, there is an immutable center that continues to watch, even when it no longer possesses eyes to do so.

Collect the artwork here

Conclusion

The journey through Mime’s works does not lead to a final form, but to the understanding of the residue. His practice transforms the digital into a place of friction, where the image is not an acquired fact but an artifact emerging from a process of erosion and recomposition. We have seen the face turn into stone, double itself in the void, or burn to find its own truth; in every fragment, the manual gesture remains the only compass capable of navigating between the folds of the paper and the coldness of the pixel.

What remains is an irregular beauty, made of cuts that do not heal and zones of silence that ask to be inhabited. That point of blue, encountered like an electric signal among the rubble of the collage, remains the last trace of a stubborn vitality: an exposed nerve connecting the ancient to the contemporary. Mime’s works do not offer themselves to the rapid consumption of the gaze; they remain there, like open thresholds, to testify that art is, above all, the acceptance of failure and its transformation into ritual.

Traces that do not seek the form, but its echo.

Explore more of Mime’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

I discovered Aempatia’s work through a collaboration with DDO, gradually captivated by his collage technique that fuses scans, prints, manipulated materials, and photography into surreal landscapes where everyday objects become emotional horizons. Each composition transforms tangible fragments, paper textures, faded inks, photographic cutouts, into dreamlike scenarios breathing with alien life, as if the materials themselves gained consciousness.

Her approach rejects digital perfection to embrace physical imperfection: torn edges, random overlaps, burns resembling clouds, granular details turning into galaxies. In this process, the ordinary becomes extraordinary: a paper scan turns into a storm, a photographic cutout into a mythological figure.

Aempatia does not assemble images she creates ecosystems: each collage is a world where scale dissolves, objects abandon function to become pure visual landscapes, inhabited by constant tension between familiarity and disorientation.

Objects cease to be themselves when they become landscapes.

Curatorial Statement

Aempatia’s collages reconfigure perception through high resolution scans, multiple prints and physical manipulations that turn everyday reality into playful interplay of scales and perspectives challenging perceptual certainties. Her multi layered technique blending paper, photography, disparate materials and digitally reworked analog textures creates compositions where microscopic details coexist with infinite horizons as scanning dust becomes nebula and photographic cutout a mountain.

The process stays deeply physical ****with each element bearing traces of its journey like irregular scissor edges, paper creases, moisture stains and film grain that transform the work into contemporary fossil revealing its entire genesis. This artisanal approach yields materiality digital can never match since paper lives, breathes and holds light uniquely.

Surrealism emerges from disorienting juxtapositions where recognizable objects lose function to become pure visual signifiers generating dreamlike suspension of meaning. Results are inner landscapes evoking states not stories such as melancholy of crumpled paper as cloudy sky, unease of insect scan as constellation, wonder of ink blot spawning universes inviting pure visual surrender.

Selected Works

A personal selection; not of preference, but of resonance.

This selection gathers five works capturing the essence of Aempatia’s method: transforming the ordinary into surreal panoramas through physical and digital stratifications. It is not a retrospective but a constellation of moments where her technique achieves particular resonance: collages blending micro and macro, detail and infinite, object and landscape in precarious yet perfect equilibrium.

Each work highlights a different aspect of her approach: the ability to draw universes from forgotten fragments, dialogue between analog textures and digital scans, use of controlled chance as compositional force.

æquilibrium - 2021

That ballerina does not dance she floats in a dangerous dream where three black rose heads watch silently, guardians of a secret they will never reveal. The white tutu swells like a cloud on the verge of dissolving, legs stretch in impossible lines toward a green grid that seems to cage her, while the roses, broken and mysterious, loom like ancient presences knowing something about her we cannot grasp.

Tension holds the breath ****the ballerina suspended between lightness of flight and oppressive weight of floral heads, between freedom promise of tutu and imprisonment suggested by metal grid. Roses are not decoration, they are judging eyes that remember, perhaps caused her fall.

The gaze cannot settle sliding from outstretched legs upward, stumbling on roses blooming like wounds, falling into grid imprisoning everything. Stolen moment from dream where grace clashes with threat, body dances to save itself from claiming plants. This ballerina seeks no applause, seeks to remember who she was before roses found her

Collect the artwork here

Boicott - 2022

Tissues wrap a female face like a veil that denies while revealing, creating a disorienting presence where the human figure becomes living pattern. The title Boicot resonates as deliberate refusal to show completely, silent protest against demand for clarity.

Eyes peer through weaves, mouth emerges halfway, contours dissolve into fiber; no face to possess, only fragments challenging gaze to reconstruct them. Tissues are not mere cover: true protagonists transforming ancient painting origin into collage where skin and weave breathe together, denying hierarchy between subject and material.

Work resists: resists easy deciphering, linear narrative, photography as document. Truth lies in veil itself, tension between what we see and what tissues refuse to show

Collect the artwork here

Chemistry - 2023

A nude figure rises at center of this surreal laboratory like primordial scientist, headless body surrounded by steaming vials, suspended chains, stacked green cubes as mysterious towers. Red lines dripping from containers are not blood but vital elixir, while green leaves girding hips seem to grow directly from skin, uniting body and nature in secret ritual.

Strange serenity inhabits this controlled chaos: figure is not victim of laboratory, but priestess. Green vials in hand glow with alchemical promises, ceiling chains become constellations, cubes altars. Each element lives independently yet obeys composition, forging universe where science and magic fuse seamlessly.

Gaze loses itself in details: hip curve against vial rigidity, red drops defying gravity, chains framing void like movement promises. Collage whispers transformation: nude body not exposed but alchemically complete, surrounded by tools amplifying mystery rather than explaining. Aempatia built laboratory where science turns poetry, every object breathing same quiet life as central figure.

Collect the artwork here

Damage control - 2024

Four fragments of a female face, trapped like live insects in a web, create sweet captivity effect that captures gaze never releasing it. Each image suspended and overlaid on itself, eyes imploring through photography, hair pressing against boundaries, mouth seeming about to speak yet remaining mute.

Playful melancholy inhabits repetition: same face in four moments of silent struggle against transparent prison, lit by warm lights making skin glow against acid green. Tattoos emerge sharp, while material creases become veins linking portrait and container into hybrid entity.

Collage multiplies desire for contact: urge to free her, touch wrinkled cheek, feel rebellious hair defying edge. Aempatia turns repetition into emotional progression from first closed fragment to fourth nearly breaking membrane. Quartet of stolen confidences where captivity becomes extreme intimacy, multiplied face watching from four impossible directions

Collect the artwork here

Ilikeubetterinurselfie.zip - 2025

A tattooed arm struggles against metal chains holding it back, captured in four fragments on a magenta smartphone screen floating over bare skin like portal to another dimension. The face in lower small frames seems seeking gaze with restrained intensity, while arm tattoo becomes silent protagonist of this modern captivity.

Electric tension exists between physical and digital: chains grip real flesh, yet all mediated by framing screen, turning struggle into observed performance. Pale skin against warm magenta creates pulsing contrast, chains becoming universal symbol of invisible bonds.

Gaze wants to free it: trace arm veins to open hand defying chains, enter small portraits where figure seems awaiting recognition gesture. Collage speaks contemporary confinement: body trapped by digital reproducing it, identity fragmented in frames, individual fight becoming collective spectacle. Aempatia captures suspended moment where rebellion already mediated, shared, transformed into icon

Collect the artwork here

Conclusion

Aempatia’s works outline profile of tactile and unpredictable art, where manual cutting forges encounters between hostile surfaces generating independent visual fields. Absence of perfection reveals power of imperfect: tears like living incisions, colliding textures igniting autonomous narrative sparks.

This logic of elevated fragment, charged voids, questioning solids, produces images breathing beyond their surface, inviting gaze to decipher unstable balances. Montage remains open gesture, not definitive closure.

The whole affirms practice transforming accidental into inevitable, making each collage pulsing node of coherent and radical research

Stolen fragments pulsing with their own life, witnesses of the process until its completion.

Explore more of Aempatia’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

Gabriel Nebular’s work emerges from an analog photo manipulation practice that tests the material before the image itself. Double and triple exposures on film, negatives heated to the brink of combustion, images stressed with light and heat: each gesture intervenes on the support as if it were a living body, to be marked, wounded, made to react.

Rather than “correcting” the shot, Gabriel extends its duration, returning photography to a slowly chemical dimension: images aren’t produced in the darkroom, but in an intermediate zone where the film continues to transform under the effects of temperature, pressure, and repeated exposures. In this process, “error” becomes language; what would normally be discarded, halos, burns, superimpositions, becomes the most sincere part of the work.

The film reveals itself when left free to respond.

Curatorial Statement

Gabriel uses photography as a testing ground for photosensitive material. The film is never a mere neutral support, but a territory of friction where light, chemistry, frost, and heat collide to generate images that are born already as relics.

His method builds through accumulation and risk: the same portion of negative is exposed multiple times, rotated, partially masked, then subjected to heat sources that deform the emulsion, crack the surface, shift colors out of register. In this way, photography loses its promise of fidelity and becomes instead the document of a series of traumas inflicted on the film.

The analog element is crucial: it’s not about simulating digital glitch, but making it happen physically, letting the material react on its own terms. The artist’s hand decides when to intervene, through masking, targeted overexposures, negative heating, but the final result remains open to surprise, as if the image still had to “decide itself” while being fixed.

Within this practice, the artist renounces total control to establish a dialogue with the support: each work is the visible residue of a negotiation between intention and combustion, calculation and risk. Gabriel’s work shows what happens when the image is treated not as a surface to perfect, but as a field of chemical and thermal tensions that, once activated, can never go back.

Selected Works

A personal selection; not of preference, but of resonance.

These five works have been selected because they represent, for me, the moments that embody the passage from conventional photography to extreme analog manipulation.

This is neither a retrospective nor a chronological overview, but a constellation of moments that have stayed with me, works that reveal how his visual universe evolves through double and triple exposures, thermal deformations, and tension between chemical precision and randomness. Each selected piece highlights a different aspect of his practice: the tension between perfect registration and deliberate misalignment, the way overexposures and temperature accumulate systems of marks, the use of burns and emulsion drift as structural forces of composition.

For me, these works offer an entry into the heart of his method, a space where looking becomes tracing processes, perceiving the movement of chemical reactions, and recognizing how his research transforms photosensitive materials, risky gestures, and thermal forms into a continuously renewed visual language.

Yellow insight - 2021 (date of mint)

This window facade lives with a light that seems still in motion, captured on film with an exposure that let the reflections tremble, double, intertwine in a silent dialogue between structure and dissolution. The yellow and green gradients embracing the sides are not effects, but the skin of the film that breathed that intense light too long, saturating until halos pulsing with their own life emerged.

The windows never repeat exactly: each reflection carries a slight difference, a breath of instability that makes the entire composition a magnetic field, where architectural geometry surrenders to the emotional vibration of light. It’s an image that asks to be felt more than seen: the vertical streaks of the grain are like veins holding the scene’s breath, the physical memory of a moment the film wanted to preserve in its own way

Collect the artwork here

Desintegration - 2022 (date of mint)

This strip of manually frozen and intervened film pulses with a primordial inner life, where the blue-green emulsion contracts like organic tissue subjected to extreme thermal stress. The black perforations are open wounds from which light still seems to seep, while the abstract forms emerging from the deep turquoise tell of multiple exposures on a negative that underwent cycles of freezing and chemical intervention.

The physical trauma of the support is palpable: the emulsion, altered by ice and subsequent manipulation, contracts into those dramatic folds that resemble throbbing veins, halos stretching downward like tears frozen in time. It’s an image that lives through its own wounded body, where the grain is no longer technical detail but emotional breath, the testimony of a film that passed through extreme cold and human intervention to be reborn transformed

Collect the artwork here

not mean to be remembered - 2023

These two twin film strips breathe in unison, deformed sisters born from a single roll wounded by time and chemistry. The deep purple running through them is not color, it’s clotted blood of the emulsion that absorbed too much light and now returns it as an open wound, with those drips stretching downward like broken veins.

On the left, ochre yellow explodes into an organic form resembling a light-swollen lung, while on the right dirty white preserves voids pulsing with absence, perforations that are not random but held breaths. The rough grain, edge cracks, white filaments binding the two strips: everything speaks of a negative that struggled to emerge, letting each grain become confession.

It’s a diptych that refuses to be fixed: the film seems still to mutate under the gaze, colors shifting like memories that find no peace, an invitation to feel the silent weight of what analog photography knows how to preserve when left free to wound itself.

Collect the artwork here

Distant Shores - 2025 [collaboration with minmin]

This red sphere is a heartbeat under water, an incandescent core that the film captured in the exact moment it was about to explode. The deep blue enveloping it is not background, it’s the ocean’s held breath containing it, while the green glares and luminous bubbles are fragments of light escaping, like memories refusing to sink.

The composition revolves around that crimson focal point, where everything converges and radiates: the red light pulses with almost violent force, surrounded by halos resembling breaths, vibrations of a film that struggled to contain such intensity. You can feel the moment of the shot, the two different camera’s hesitation before this liquid and burning mass, the emulsion saturating to its limit leaving those green cracks emerge like veins of a marine organism.

It’s an image that doesn’t stop: the red sphere seems to expand as you look at it, the blue squeezing it like a deadly embrace, the bubbles fleeing outward. Gabriel and Minmin captured not a scene, but an instant of extreme tension, where analog photography reveals its most intimate nature: it doesn’t copy the world, but feels its heartbeat through the chemistry of the film.

Collect the artwork here

Playa de los caminantes - 2025 (date of mint)

This double exposure at the boundary between land and sea is a collective sigh captured on film: evanescent figures, shadows of bodies moving along the beach, dissolved in a deep blue that seems to gently swallow them. The red and white lights of distant cars are not details, they are pulsing hearts piercing the darkness, while the central vertical black divides the world into two parallel breaths.

The horizon line trembles like uncertain memory, with red silhouettes dancing in misalignment, the effect of superimposed exposures where each pass left only an echo, a fleeting gesture that the film wanted to retain. You can feel the night wind in the grain, the salt in the air, the streetlights reflecting on the water like unkept promises.

It’s an image vibrating with multiple presences: the empty but inhabited beach, the sea lapping at memories, the lights trying to stop time. Gabriel transformed a banal instant into a symphony of unstable lights, where analog photography reveals its deepest truth: it doesn’t freeze the moment, but captures its expanded emotion, the shared heartbeat between subject and support.

Collect the artwork here

Conclusion

Each image testifies to the living dialogue between intention and matter.

The coherence of Gabriel’s research lies in trusting the film: he doesn’t correct it, he listens to it. Burns, drips, overexposures become his vocabulary, where every chemical reaction carries a unique story. This path demonstrates that the true strength of analog photography lies in exposing its imperfections, transforming chemistry into intimate narration.

For me, this selection illuminates the essence of his work: rejection of perfect reproduction, trust in material randomness, conviction that the most alive images are born from the tension between hand and chemical reaction. In Gabriel’s hands, film is not a tool but a partner, and analog manipulation becomes an act of listening to what wants to emerge.

A living dialogue between light and matter, where every imperfection tells a unique story

Explore more of Gabriel Nebular’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →

I was immediately drawn to Toca Me’s work, which appeared as a foreign body in the NFT visual territory: not digital paintings nor pure glitch, but designs seeming to come from an analog elsewhere, almost editorial.

A weave of graphics and typographic layering, modular patterns and simulated textures.

What struck me is how they avoid the wow effect of animations or hypnotic loops: their works are often static, precise, built like catalog pages that breathe; digital yet conveying the tactile feel of print and ink without fully resolving into either opposing world.

Over time I realized Toca Me doesn’t draw images, but systems: modular patterns, typographic overlays, gradients behaving like physical matter where each collection experiments with how design can become autonomous, almost organic.

Layers don’t just decorate: they structure matter.

Curatorial Statement

Toca Me’s work moves along a precise ridge: the boundary where graphic design ceases to be functional and invades the territory of visual autonomy. Their compositions start from controlled layering, modular repetitions and minimal chromatic shifts to create surfaces that evoke offset prints, industrial collages and glossy paper textures, always with a serial logic that makes them unique.

Each piece is a diagram of visual relationships: patterns that intertwine without hierarchy, fragmented texts that lose meaning to become pure form, flat colors that test perception like pages from a typographic manual in motion. There is no drama or narrative, just the precise mechanics of a self-organizing system, where the digital recovers the dust of paper, the ink of the plate, the weight of the sheet.

Their work translates into editions that do not exhaust themselves but expand, inviting the gaze to negotiate between repetition and variation, order and minimal drift.

Selected Works

A personal selection; not of preference, but of resonance.

The following five works have been selected as they represent, for me, moments that embody the passage from functional design to autonomous design.

This is neither a retrospective nor a chronological overview, but a constellation of layering that has stayed with me, works that reveal how their visual universe evolves through typographic overlays, modularity, and contrast between geometric rigor and simulated textures. Each selected piece highlights a different aspect of their practice: the tension between printed patterns and sharp lines, the way texts and forms accumulate into systems, the use of layering and repetitions as structural forces in composition.

For me, these works offer an entry into the heart of their method, a space where looking becomes tracing processes, perceiving the movement of ideas, and recognizing how their design transforms graphic materials, gesture, and form into a continuously renewed visual language.

Sequence - 2021

Raw and crude overlay where a glossy saturated cyan blue invades the space only to be pierced and stratified by opaque dense blacks that absorb every trace of residual light, brutally defining thin diagonal scratches, rough granular textures that pulse in backlight, frayed irregular edges that deliberately bleed outside the frame as if the image cannot contain its own expansion.

The black presses heavy and relentless against the vibrant unstable blue, generating an illusory yet tactile depth where each single layer fights for its own space, resists the other’s invasion, and evokes the dust of fresh ink scattered on glossy paper still damp and not fully dry, ready to shift at the slightest touch.

Nothing here resolves into harmony or precarious balance. Each element challenges the adjacent one with calculated force. The viewer’s gaze remains trapped and compelled in this incessant visual tug-of-war, forced to retrace layer by layer, depth by depth, grasping only partially how the design definitively ceases to serve utilitarian purposes and instead begins to exist for its own internal dynamics of collision, born from the pure friction between tactile material opacity and artificial reflective sheen, never fully yielding to a definitive or stable form, but perpetuating a tension that invites return.

Collect the artwork here

Don’t look at me - 2022

Space organizes around a dominant geometric monolithic black triangle, pierced by three metallic silver circles that bore through the opaque dense mass like detached industrial lenses or precise holes in a solid plate, surrounded by photocopied fragments resembling torn bent reflective foil.

The triangle emerges as heavy solid volume absorbing all residual light, while the circular voids generate pinpoint gleams against this total opacity. Overlaid distorted silver residues suggest a physical manual process of cutting pasting scanning with unfinished jagged tears still pulsing with gesture, thin horizontal vertical oblique lines functioning as provisional anchors fragile spine to prevent the collage from dispersing into white void.

The gaze stays trapped forced to move slowly from pinpoint luminous holes to raw frayed edges, from dense oppressive black to sudden silver reflections, retracing layer after layer depth after depth as the fragile system holds only thanks to these internal collisions continuous material frictions, a mute silent diagram documenting step by step the precarious reversible assembly between inflexible sharp geometric order and raw rebellious materials never fully subdued or integrated.

The image never concludes keeps open the negotiation between container and content between rigid form and inner challenging residues, inviting return to catch new cracks in the equilibrium.

Collect the artwork here

Code 06 - 2023

A barcode transformed into dominant tactile mass: an opaque horizontal black strip occupies the exact center of the frame as heavy solid block, interrupted only by blurred circular scratches scattered drops that pierce the uniform surface, while vertically thin white and black lines accumulate densely on the right side extending beyond the edge, against raw white ground marked by stains dots curved horizontal lines as residues of manual process scanning collage.

The composition holds stark oppositions in check without resolving them: modular rigor of bars against organic irregularity of stains scratches drops, total absorbing black against raw white reflecting everything, extended vertical lines against compressed horizontal strip blocking the flow. Every mark carries visible process: blurred scratches not polished but vibrant, drops bleeding without precision, lines spilling out of frame instead of stopping sharp, black swallowing white without transitions, ground retaining raw residues like used draft paper never cleaned.

The gaze locks trapped in the central strip then slides toward dense edge lines, climbing back up drops scratches stains to retrace how the barcode system loses function to become autonomous texture, born from collisions between inflexible serial order and raw rebellious materials eroding it from within. The image does not stop holds tension suspended between mechanical scanning and manual intervention, between encoded information and material residue overwriting it, forcing return for new readings in the eroded details.

Collect the artwork here

Dissonance 01 - 2024

A frame split into two vertical black blocks, specular nearly identical, separated by a thin vertical white slit running from top edge to bottom like surgical clean cut, with internal horizontal strips shaded scratched running parallel creating internal depth and rough texture, upper edges irregular frayed like paper manually torn against raw white ground without indulgences.

The two black rectangles present as opaque solid heavy masses swallowing light and detail, the white slit does not unite but divides isolates amplifies precarious symmetry, internal horizontal strips pulse like ink rolled onto rough paper with wear marks scratches residues, jagged live edges evoke physical gesture of tearing immediate scanning without retouches.

Every element screams raw visible process: unfinished sharp tears tactile to the eye, horizontal shadings not uniform but vibrant with irregular pressure, precise implacable slit breaking unity, blacks pressing against white without yielding space, ground retaining essentiality without useless embellishments. The gaze fixes first in the dividing slit then slides into specular blocks climbing back up strips scratches edges to retrace how design here becomes unstable duality, born from material laceration transforming identical rectangles into antagonistic presences, from clean cut generating perpetual tension.

The image stays suspended in balance between duplication and fracture, symmetry and rupture, forcing continuous returns to measure white space between blacks, internal depth against external flatness, manual process against apparent order.

Collect the artwork here

~gone - 2025

In this work Toca Me positions a dense saturated red square in dominant but asymmetrical position, heavy oppressive monolithic block, against raw blurred white ground marked by horizontal vertical halos and black and white seascape emerged submerged bottom right with waves foam beach pressing pushing against invasive red.

The composition cages ruthless contrasts without mediations: total saturated red against oblique fragmented gray, rigid geometric square against fluid chaotic wavy landscape, dominant absorbing white against rebellious emerging details from below. Every trace screams unmistakable physical gesture: sharp cutting relentless red edges, blurred pulsing waves foam frozen movement captured, dripping halos without restraint, raw ground retaining material residues tested used paper never cleansed.

The gaze plants on asymmetrical red then slips toward oblique strips submerged landscape, climbing back up halos waves foam to retrace how design shatters monochromatic unity with fluid liquid intrusions, born from precarious assembly between solid monolithic block and marine flow eroding besieging boundaries pushing from outside.

The image suspends continuous struggle between inflexible rigid red container and rebellious contents pressing spilling from below, apparent symmetry against organic wavy marine chaos, stratified overlaid process against illusory order, forcing obsessive returns to measure red expansive pressure against insistent landscape erosion, submerged liquid depth against opaque block frontality.

Collect the artwork here

Conclusion

In Toca Me’s body of work emerges an ironclad coherence: design as a layering algorithm where pattern textures do not depict but structure test boundaries.

Rather than aiming for coherence, they allow the image to unfold through interruptions, tensions, and texture shifts, letting works speak from their frictions rather than certainties.

Through these five pieces what stands out is not a single pattern but an approach to the image, a method rooted in instinct, in willingness to let intuition intervene before intention fully forms. Each work shows how they use layers, textures, and interruptions to redirect the gaze, creating compositions demanding a slow approach without expectation.

The structures they build are not fixed entities, operating as fields of relationships where pressure drives meaning forward. For me this selection brings the essence of their journey: refusal of fixed form, trust in variation, conviction that the most compelling images are those formed by tension rather than certainty.

Graphic material gets treated as a field of constant reconfiguration.

Explore more of Toca Me’s work:

🔗 Objkt Profile →

🐦 X (Twitter) →