When algorithms become icons
Art project by Oleg Pospelov
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Any sufficiently advanced technology is indistinguishable from magic.
The concept behind the series is technocratic spirituality. It is an attempt to aestheticise the logic of diagrams, graphs and interfaces, endowing it with the weight and significance of a religious artefact. It is the transformation of engineering geometry into an object of contemplation.
No 918. Sacred Geometry
No 919
No 920. Sacred Geometry
No 921. Sacred Geometry
No 923. Sacred Geometry
No 926. Sacred Geometry
No 927. Sacred Geometry
No 928. Sacred Geometry
Original artworks from 250€
All works are created using the acrylic monotype technique. Acrylic, gold leaf, paper 11.7×16.5 inches (297x420 mm), 300 gsm.
No 929. Sacred Geometry
No 930. Sacred Geometry
No 931. Sacred Geometry
No 932. Sacred Geometry
No 933. Sacred Geometry
No 934. Sacred Geometry
No 935. Sacred Geometry
No 937. Sacred Geometry
No 938. Sacred Geometry
No 939. Sacred Geometry
No 940. Sacred Geometry
No 944. Sacred Geometry
for your walls
The works in this series speak the language of archetypal forms — cross, square, circle — laid over gold leaf and textured paper. Each piece stands on its own. Together, they create a rhythm that's hard to ignore. Use the configurator below to build your composition: choose the works, arrangement, frame colour and wall tone — and see the result instantly. Add your selection to the cart in one click.
The concept
Modern technology has become so complex and has diverged so far from the basic tools used for tens of millennia that an ordinary person, looking at a modern device's schematic, sees only a graphic pattern of symbols that explains nothing—neither how it works nor how it is constructed. This is no longer a knife, a needle, a plow, or a hammer; the tool's description no longer matches its function. A hammer is a heavy stone or metal weight fixed to a handle to drive a nail or crush a skull; a figurative image of a hammer explains both its design and function. A modern device cannot be described with figurative language; its technical description is a geometric abstraction. We no longer understand the mechanics. Technology acquires the traits of a divine phenomenon. It cannot be rationalized. Only faith remains—without doubt, proof, or the possibility of renunciation. We cannot exist without it. We will not survive without smartphones and AI.
The color scheme is restricted to three poles: gold, matte black, and white. Gold leaf is a direct intervention into the space of the icon, a reference to church tradition. Black defines the structural skeleton: its textured imprints, resembling microchips, set an industrial rhythm. Sterile white functions as a technological gap or an interface window, creating a spatio-temporal pause for reading the code. Functional geometry becomes a cult object, while the strict symmetry of the works mimics altar compositions, transforming familiar loading indicators and barcodes into mandalas of the digital age. This is the aestheticization of the algorithm, a transmission of the idea of modern-day iconography, where behind the impersonal geometry of circles and squares hides not a saint’s face, but the absolute order of the information field. The series invites the viewer to change roles: to step out of the usual active user mode and become a pilgrim contemplating the ethereal, indescribable, yet almighty architecture of the digital world.
art by oleg pospelov
