The works presented here are part of a portrait series that engages with processes of digital distortion and abstraction.
Starting from a concrete portrait, the images pass through multiple stages of transformation—from recognizability to the near-complete dissolution of figurative reference.
Through glitch, algorithmic interventions, and digital vectorization, the portrait shifts from a representational image form toward a processual state. Identity no longer appears as a stable category, but as an unstable, technically produced configuration.
The series thus reflects a contemporary paradigm shift within digital image production, artificial intelligence, and post-digital culture. The subject no longer functions as the origin or center of the image, but rather as the effect of operations, data structures, and aesthetic filters. The artwork itself is not to be understood as a closed object, but as an open process of transformation.
Within this shift, fundamental ontological questions are renegotiated—those concerning identity, authorship, and the status of the image under the conditions of algorithmic systems.
At the same time, the series is informed by a subjective and historical dimension. The increasingly abstract, cold, and estranged visual language reflects both a personal state of dislocation and a broader cultural condition shaped by political instability, technological acceleration, and social fragmentation. It is a pattern that can be observed repeatedly in art history: when social, political, and personal tensions intensify, artistic form tends to move toward abstraction, reduction, and alienation.
The objects that emerge in these images appear simultaneously precise and broken—geometrically ordered, yet glitched, distorted, and partially destroyed. They oscillate between idealized form and structural collapse. What is produced is not a stable world, but a field of suspended entities caught between control and disintegration.
These virtual spaces can be read as zones of escape and projection, driven by a desire for utopia or withdrawal from an overwhelming reality. Yet they are also radically cold, empty, and depopulated—vacuum-like environments without time, history, or warmth. The figures that once were portraits no longer appear as living beings; they persist only as residual objects, floating, isolated, and ontologically uncertain within a digital void.
In this sense, the series operates on multiple levels at once: as a reflection on contemporary image technologies, as a philosophical inquiry into the status of the subject, and as an affective map of a world in which both individuals and representations are increasingly fragmented, displaced, and suspended.
Winter 2025/2026