I have completed a new series — Sacred Geometry. 19 works in acrylic monoprint with gold leaf, A3 paper, 300 gsm.
The starting point is Arthur Clarke's quote: any sufficiently advanced technology is indistinguishable from magic. A modern device can no longer be described in figurative language — its schematic is not a blueprint of a tool, but a geometric abstraction that an ordinary person cannot decode. Technology has moved beyond comprehension and taken on the traits of a divine phenomenon. Only faith remains.
The palette is three colours: gold, matte black, white. Gold leaf as a direct reference to icon painting. Black sets the industrial rhythm — the texture of circuit boards. White is the technological gap, a pause, an interface window. The strict symmetry of the works mirrors the logic of altarpiece compositions: loading indicators and barcodes become mandalas of the digital age.
The series offers a shift in perspective: step out of user mode and become a pilgrim.
The starting point is Arthur Clarke's quote: any sufficiently advanced technology is indistinguishable from magic. A modern device can no longer be described in figurative language — its schematic is not a blueprint of a tool, but a geometric abstraction that an ordinary person cannot decode. Technology has moved beyond comprehension and taken on the traits of a divine phenomenon. Only faith remains.
The palette is three colours: gold, matte black, white. Gold leaf as a direct reference to icon painting. Black sets the industrial rhythm — the texture of circuit boards. White is the technological gap, a pause, an interface window. The strict symmetry of the works mirrors the logic of altarpiece compositions: loading indicators and barcodes become mandalas of the digital age.
The series offers a shift in perspective: step out of user mode and become a pilgrim.
