paintings

kiwanoia

keta ahegao

a vision of a wandering head drifting alone in a sphere of hypervisual patterns, a physical vessel of consciousness

the face with rolled eyes and an extended tongue is an iconic image of the early 2020s, the “ahegao” expression from japanese anime culture — an exaggerated, orgasmic facial grimace

here it refers to ketamine-induced amplified sensory experiences, overwhelming pleasure, and the high-weirdness dimension characteristic of a psychedelic trip

the liquefying, dispersed pattern — typical of ketamine perception — is generated in the spirit of glitch art. the elf ears reference the ketamine high as a kind of fairy-realm state and to its use in a sub-pop culture shaped by japanese aesthetics, where the motif arrived via scandinavian mythology

1m² of glitter

pause

in the western psychological logics the feeling of vacuity is as a rule connected with down– conditions, with something depressive. being “filled” with emptiness is something incomprehensible for such logics. but it is not incomprehensible for the logics of hardcore conceptualism/ minimalism, where all of the adrenalin flows out or rather flows in from hollows, empty production. for a conceptualist void is an intensive poetic drag, the quintessence of dry logics, pure materialization of flesh-free structure

snake spells

across 9 canvases, ai-generated snake words slither in sequence. the text visually echoes the movement of snakes, and through the use of special stencils the edges of the letters appear like leaking venom. the work merges the black-and-white minimalist visuality of conceptual language-based art with archaic animistic incantation.

horror vacui

metanoia

at the doctor’s

at home

black hole

cellular structure with its mirror image is a whole. due to the shift a stair to the black hole appears

the brackets

brackets refer (emptily) to what is (or, in “brackets”, is not) bracketed. in addition, “brackets” construct a feedback loop for channel noise as the blank author

the facilities of listening and talking as „brackets“ which restrain the flow of speech, in this case not speaking and not listening – a pause

spinoza talks about absolute/substance as the cause of self, as the beginning of causality. spinozas image of the absolute was that god is trapped in himself – that through some mystical determination (cause-effect) he is bound to be and to create. as if emptiness demanded creation. this emptiness/space is so powerful that even god himself has no free will for he has to exist beside nothingness (0). moreover, he has to create, he is programmed to create something. being and creating is almost the same

if we remove the singer or the speaker from the microphone (and from between the headphones) every spectator can recreate it on his own – from emptiness he or she can materialize just a suitable non-existent band or a sound of zero. this kind of creative act is also automatic and done by rote – it is the psychological inevitability of the audience. as with spinozas absolute the viewer turns into a psychological-mechanical toy and robot who is programmed to be nothing. all associations are subject to psychological randomness

carmenscratch

self-portrait as japanese chick

mind vaatas ühe lille silm

psüühilise energia majakas

minimal

rubikflash

lolita & 7 dwarfs

vigurlend

vinn glitch remix

void

wandrer above the seafog

wildlife documentaries

the documentations of wildlife converted into text are raw data, a language meant for a machine. but how does raw data as a stimulus affect the human brain? the spontaneous reaction when confronting such stimuli is the habit to read associated meanings as a linear narrative, and at failure to do so the brain switches to a special mode. (an illiterate brain does not care if it is processing random stimuli or a text consisting of letters.) brain’s activity changes because different regions process text and picture. (due to the fact that every brain is individual and plastic, each person has different terms and meanings in a slightly different place, and the centres can move around during the person’s life within certain limits, for example in case of a trauma or a stroke (and certainly with experience, as new connections are made)

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