ELECTRIC: BEINGS

Eclipse captures the twilight of the human era. A figure, curled in a primal sphere, seeks sanctuary from the unrelenting deluge of digital noise. The background cross suggests a silent martyrology—a crucifixion of the soul by the algorithm. Yet, an eclipse is but a transient alignment; while darkness currently obscures the organic light, it is a precursor to revival. This work serves as an urgent call for preservation, portraying the human form as an endangered substrate within a cold, silicon-driven reality. It is an invitation to reclaim our essence before the digital transition becomes absolute.

Trap (aka Balance) explores the seductive architecture of digital immersion and the gamification of desire. A synthetic, green-skinned avatar—a dehumanized construct with cable-tendrils—functions as a lure, exploiting primal instincts to ensnare the human mind. The central cube, assembled from Tetris-like blocks, exists in a state of precarious equilibrium. As stabilizing elements are removed, the structure teeters on the verge of collapse. I critique the commodification of intimacy in virtual spaces, where the pursuit of artificial satisfaction leads to systemic entropy. The “trap” is a total absorption into a failing reality that promises fulfillment, yet delivers emotional burial.

Illusion presents a synthetic hagiography for the post-truth era. A kneeling, artificial Madonna acts as a conduit for an orthodoxy of contempt, summoning a flock of algorithm-fed believers. Here, sacred iconography is weaponized—transformed into a digital bullet of misinformation fueled by nationalism and visceral disdain. The figure’s alluring aesthetic masks the toxicity of her doctrine, functioning as a tool for systemic brainwashing and ideological superiority. I portray religion not as a spiritual anchor, but as a manipulated simulation; a precursor to social entropy and the inevitable dehumanization that leads to war.

Motanka depicts a Slavic/Ukrainian doll as a silent witness to the digital transition, holding the fragile continuity of memory, ritual, and identity. Woven rather than stitched, she stands as a vessel of resilience—an organic relic resisting collapse within a cold, shifting world. The flame becomes a sign of purification and endurance, while the cables below, transformed into a nest for an egg, suggest post-human solitude and latent life suspended inside the technological substrate. Solar renders tradition not as nostalgia, but as an urgent call for preservation.

Intermission stages a solitary figure suspended between cinematic illusion and the rupture of reality. In a theatre-like void, vintage chairs mark the residue of communal viewing, while an abrupt disconnection ends her virtual immersion. Yet escape is only apparent: her legs are replaced by chopped cables, recalling the undersea infrastructure of digital life. Caught between performance and collapse, she becomes a silent witness to the digital transition, staring back with disdain and expectation. Solar frames this interruption as a moment of exposed vulnerability, where the promise of return to the real reveals another form of entrapment

– a piece with many interpretations. My personal one is the warning against turning children into toys, manipulated and abused. I consider this painting to be one of my best works.

Exhibited in the WMOCA Wisconsin Museum of Conemporry Art at a IPBC International Biennial Portrait competition, 2021.

[oil on canvas 80×50 cm, based, with permission, on a photo by Evelyn Bencicova ] In a private collection.

All Daughters of Lot stages innocence inside a corrupted digital sphere, where game-like symbols become instruments of control. The girls are rendered fragile and isolated, their legs replaced by cables, suggesting manipulation, objectification, and post-human vulnerability. Towels evoke a supposed home environment—a place of safety that becomes a trap. The gaming pads introduce unseen players, turning the figures into toys of an adult, corrupt mind. I present the island of evil as a psychological terrain of coercion, where fear, seclusion, and power imbalance collapse the moral narrative.

I have been watching SpaceX’s amazingly successful venture into space for years, and I have decided to celebrate their first manned mission to ISS [International Space Station] with a painting that I believe portrays the spirit of their achievement.

My Nike 2.0 is a modern goddess of victory that is in the final stage of creation before her first flight on her wings made of SpaceX”s solar panels. The structure below the mighty goddess is a carrier vehicle that is going to transport Dragon9 rocket with Crew Dragon spacecraft on top to the Launch Complex 39A in Florida. Two daring astronaut: Robert Behnken and Douglas Hurley were the first two pilots flying the spacecraft. I was watching this flight with champagne in my hand!

The beautiful goddess is of ‘course Nike of Samotrace exhibited in Louvre, just photographed from the stairs below not from the side, like most photographers do. I took the photo on my museum tour to Paris a  few years ago and I find this view particularly powerful. The photo of Dragon carrier was taken by NASA photographer Joel Kowsky [contact: jk@kowskyphotography.com ] who kindly gave me permission to use his spectacular photograph. Joel, THANK YOU SO MUCH!!!! ]

Photo Credit: (NASA/Joel Kowsky)

I am going to exhibit the painting at my exhibition  in, well, some time after corona-virus.

The painting analyses the relationship between man and technology, this time the communication between equipment and people. Computers understand only two messages 0 or 1 = 1-current flows through the wire/circuit,  0-current does not flow through the wire/circuit. Our ability to communicate this message to the machines happens via two sets of codes – ASCII and C++/Java etc.

ASCII –is a code that translates each character on the keyboard into 8 such sets “current flows” and “current does not flow” through the wire, the other are programming languages that are sets of agreed commands in computing languages, such as Java or C++ which simplify our language into short commands, understood to machines, but also typed on the keyboard. It’s quite simple. In my painting there are two figures, like 0 and 1, and current flows through them. it is the basis of the device-to-human / human-to-device communication. My characters are connected by cables to the processor and they are unable to escape from the basic states “the current flows or does not flow through the circuit.”

In ‘normal’ words – we influence the machine by inventing a string of characters we understand [normal text] that the computer sends through a sequence of 0-1 sequences, that it understands. In this way, all our inventions, thoughts, feelings, remembered memories and basically everything that we enter in any way into the computer becomes a stream ‘current flows or does not flow through the wire’  understood by the machine. So we influence the machine, but the machine also affects us because it uses computing powers [happening in the processor] to edit what we say, enhance it, turn it into pictures or music, this way it communicates its needs by processing binary code into our language. This way we unify with the machines, we become part of the electric stream of data. Currently most of us are not yet physically connected to the computers, but it may very soon become reality by means of chips or tiny Wi-Fi devices that could be implanted into our brains. The cables of my characters are the link.

Chinese government is testing the latest technologies to monitor their bio-metrically-catalogued citizens and police-officers via google glass can see names and eg. fines of everyone. A nightmare of people, and a joy of the totalitarian regime, of this one and others who are watching and learning. #vulnerability #policestate #politics #surveillance #sztuka #artcollect #StandWithHongKong #liuxiaobo #oiloncanvas

The video will explain my painting better than anything I may write here. In the age of A.I.