Into the Unknown

For Iskra Velitchkova, the metaverse cannot be described as a singular digital space, but rather an exploration of the relationship between man and machine. Often her work is saturated with discoveries of self and confrontation of the space humans use to distance technology. However, ‘Lamp 0’ is a subdued narrative, creating a seemingly recognizable form through simple arrangements of lines. The title reinforces the viewer's recognition of the lamp and encourages the viewer to fill in gaps in the narrative. This space of discovery and story is transformed in Velitchkova’s malleable metaverse that oscillates power between the viewer and the machine that captures their attention.

MABLAB offers a panoramic view of the metaverse, birthed through building an interface that bridges the physical and digital. Through using multimedia techniques, including 3D “digital hand-sculpting”, physical carving, and digital hand-drawing techniques, their subject matter is constructed through an intense research cycle. Here their dialogues of the abstract and speculative become concrete, are strengthened, and provide reciprocity. MABLAB views these landscapes as ‘metaversal’ which creates a relationship and a feeling of tension within the Interface—much like their sisterly duo. For them, the research provides another digital world to explore.

Alida Sun describes Orbits ASAWA as ‘A generative art exploration of space, choreography, code, and form.’ Inspired by Ruth Asawa's looped wire sculptures, Sun provides forms and environments that collide and continuously unfold into one another. The moving image echoes the sentiment of a network or a grid. The work transforms possibilities of structures that are commonly perceived as hard and immutable. Like Asawa, her multiplying forms prompt thoughts about the natural world. However, Sun explores a new digital space that is ever-changing and fluid, prompting the viewer to question the network presented to them and how a digital generative landscape can reveal and reflect back to us our inner truths.

Kovach in ’racecar a 6’ presents an ambiguous construction of vantage points, dissolving any recognizable space. The frames of shape are seemingly arbitrary, yet an underlying grid provides layering and depth. As a meeting point between geometric forms and infinite expansive digital planes, abstract perspectives and dimensions emerge allowing contemplation on the void. Kovach challenges fixed construction and composition. The intermediate space-shifting, inexplicable, interior and exterior, indistinguishable from up down-becomes the focus, cancelling the understanding of a singular digital perspective or scene.