Simulation Hypothesis

In Simulation Hypothesis, Zhestkov equally seeks inspiration in pre-historic cultures of cave art and ancient bas-reliefs. He plays with a visuality that precedes written language, from a time in which early humans used clay to make vessels and figurines.
The artist uses the inspiration from ancient forms of art and transforms it into digital sculptures using simulations and algorithms based on principles of nature.
The show takes viewers on a conceptual journey, immersing them first in Clouds of Creation, a large-scale projection that recreates the Big Bang, and then guiding them through micro manifestations of this transformative moment of genesis.

Ryunosuke Okazaki 001
For his graduate project from the Tokyo University of the Arts, Ryunosuke Okazaki created a collection consisting of three couture dresses in bold colours and shapes titled JomonJomon that are informed by Japanese Jōmon-era pottery and Shinto, an ancient religion that originated in Japan. The striking designs are modelled and decorated on Jōmon-era pottery, where vessels were decorated through pressing rope and coils into wet clay to create ornate designs. The JomonJomon collection was made using polyester, cotton and ribbed knits, in red, blue, black and white as the primary colours.

Survive the Savage Sea

When I was seven years old, my mother read a book aloud to me titled Survive the Savage Sea (1973). It was the true story of the Robertsons, a family of farmers in England who sold all their possessions to buy a sailboat with the intent of sailing around the world for several years. In June 1972, the Robertsons lost their sailboat in a remote part of the Pacific Ocean when a pod of Orca smashed the hull, leaving the four adults and two children adrift for 38 days. After their inflatable life raft grew too leaky to be safe, they abandoned it for their nine-foot fiberglass dinghy, Ednamair, a vessel so small that with everyone aboard only six inches of the boat remained above the waterline. The family navigated to areas where they could collect rainwater and survived by finding ways to catch sea turtles, dorado, and flying fish until they were spotted and rescued by the crew of a Japanese fishing boat.

video

Vessel
les corps se rassemblent alors pour former les vaisseaux de naissance. Avec un mélange de jambes et de bras, la forme des danseurs crée des roches comme des entités vaginales, d’où émergent de nouvelles créatures. C’est une scène de prison. Il est intelligent et vient clairement d’esprits exceptionnellement créatifs.

Mirror Matter
In the neutrino observatory rendered in Mirror Matter, slow panning movement gives a sense of the immensity of the nearly 13,000 photo-multipliers that inhabit this strange vessel – their ‘eyes’ engineered to watch light. Another frame depicts the Hadron Collider at CERN; its architecture envisioned through lidar scans, producing a dynamic, transparent imprint in three dimensions. Described as a vision that flows through the body, it is imagined by Škarnulytė as ‘alien archaeological vision’ with the ability to see through, and as the experience of sight farthest from the human realm. Through simultaneous perspectives, the constant surveying motion that weaves a continues thread through each video narrative, and the immersion generated by the reflective black ceiling, the viewer is imparted with this panoptical mode of perception.

Father Form
Each “Father Form” becomes a sort of portal, a vessel for a trance-like experience. Upon entering, the spectator will become multiplied, obliterated, and disjointed by the multiple reflections. This sensation is amplified by the profound sonority of the work. These sculptural vessels blur the boundaries between inside and outside, opening and enclosure, the individual and the collective.

Vessel
“It’s not a building, it’s not a sculpture, it’s not an artwork, and yet it has scale and relevance to all of those typologies… In a way, we’re thinking of this as a piece of furniture. Its ongoing use will evolve, quite naturally.”

Tipping point
Tipping Point forms both a sculptural sound installation and the basis of a live performance in which Kathy Hinde controls all the aspects of the installation live including the speed of the motors, the positions of the mechanical arms, the water levels, and how many glass vessels are resonating. She works with a range of guitar pedals to re-pitch the sounds, accentuate different frequencies, and add reverb to augment the soundscape to create an immersive composition.

קמינר תכשיטים
ossomateria
The name of the project is derived from Italian, meaning ‘bone-matter’, the material of essence. The very base of humanity, our body and its unique structure, inspired me to explore the inner architecture of our physical vessel, the shapes and meaning of the internal organs and led me to create pieces in their image.