Layers continues digital artist Maxim Zhestkov’s examination into the complexity of what space means and how it is defined using primary shapes such as a sphere or a rectangle. Here too, his voluminous structures, impressively situated in a museum or gallery space, fail to conform to the norms of “behavior” such institutions impose: instead, the artefacts in their holdings morph, disappear and reappear, turn inside-out and gradually diminish only to grow full again, revealing radiant layers underneath the dark surface of their building material.

Layers is an artwork dedicated to the exploration of the relationship between the inner and the outer sides of objects.

Featured in the film are impenetrable black monoliths that gradually reveal their true nature. Stiff and distant at first sight, monuments turn out to be vivid and intriguing as they get cut through by invisible shapes.

Through this interference, the sculptures transcend their initial state. On the intersections of internal and external, new forms appear as the objects of the artist's study open to the wave of energy from the outside and transform into disparately intricate shapes. With this newly revealed system of connections and influences, monuments seem to acquire new dimensions and become portals into parallel universes, hypnotizing and full of energy and potential.


Layers

Quarantine

Mars House

MIRRORED CITY

Persian Compound

Again

House of Theorem

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Exudater

Zebra

Edge City

The Sound of The Shadows

Borrowing the title from Italo Calvino’s eponymous novel as a kind of travelogue to imaginary cities, the following selection of works pays tribute to how vivid and detailed imagination can be.

From designers, architects, and artists, we focused here on the idea of a journey or a time capsule into otherworldly cities that defy quantum possibilities – this series of NFTs is set from the point of view of a multiverse adventurer gallivanting from parallel natures to other cosmos and macrocosm.

“Cyberspace is colonizing what we used to think of as the real world. I think that our grandchildren will probably regard the distinction we make between what we call the real world and what they think of as simply the world as the quaintest and most incomprehensible thing about us.”
(William Gibson, 2010)

In collaboration with Senior Curator [Anne Duffau](/curator/anne-duffau)

Invisible cities

Paying tribute to otherworldly imagination.

Layers

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