In the “Implied Gestures” series, I work with the limits of recognizability of human gestures. I like to watch the body emerge from a deformed, sliced space. Sometimes it is immediately clear what the image depicts, and sometimes everything is unobvious and you have to use your imagination. Everyone can see something different, get carried away by pareidolia, and look for his own associations. Creation of these works is a long and engaging process of experimenting with algorithms for me. I want to mask the body's gesture to the point of legibility, but not let it disappear completely. I play with code, parameters, randomness, and control. I look for the moment when the form is still within the field of vision, but is almost beyond recognition. It's good to reach the boundary between what is clear and what is elusive, to pause for a moment and linger in this strange zone of ambiguity. ● A limited-edition fine art print in museum-quality, archival standard, on acid-free paper without optical brighteners, compliant with ISO 9706. Each artwork is available in 20 numbered and signed copies.

In the “Implied Gestures” series, I work with the limits of recognizability of human gestures. I like to watch the body emerge from a deformed, sliced space. Sometimes it is immediately clear what the image depicts, and sometimes everything is unobvious and you have to use your imagination. Everyone can see something different, get carried away by pareidolia, and look for his own associations. Creation of these works is a long and engaging process of experimenting with algorithms for me. I want to mask the body's gesture to the point of legibility, but not let it disappear completely. I play with code, parameters, randomness, and control. I look for the moment when the form is still within the field of vision, but is almost beyond recognition. It's good to reach the boundary between what is clear and what is elusive, to pause for a moment and linger in this strange zone of ambiguity. ● A limited-edition fine art print in museum-quality, archival standard, on acid-free paper without optical brighteners, compliant with ISO 9706. Each artwork is available in 20 numbered and signed copies.

Architect, constructivist, engineer, designer and philosopher R.B. Fuller patented the concept of tensegrity structures (“Tensile-integrity structures”) in 1959. The same concept was independently patented by his student, sculptor K. Snelson (1960) and by architect D.G. Emmerich (1963). The term “tensegrity” combines “tension” and “integrity.” A tensegrity system is one that is in a stable state of self tension and contains a discontinuous system of compression elements contained within a continuous system of tension elements (which have no compressive stiffness). Structures with tensegrity features are characterized by low material consumption, lightness, low production costs, and at the same time high strength and resistance to external forces (e.g. earthquake resistant hanging bridges). The concept of tensegrity initiated in the field of art and architecture, has found a number of applications in various fields, such as in: chemistry, materials engineering, electronics and optical technology (e.g. fullerenes discovered by H. Kroto in 1985   Nobel Prize in Chemistry in 1996), sports (soccer ball), functional anatomy, biology and even in the theory of organization of social systems. ● A limited-edition fine art print in museum-quality, archival standard, on acid-free paper without optical brighteners, compliant with ISO 9706. Each artwork is available in 20 numbered and signed copies.

The first known references that suggest awareness of fascia come from ancient Egypt (e.g. “Ebers Papyrus” circa 1600 B.C.). Egyptian embalmers who prepared mummies were familiar with the anatomy of the body's shells, although their knowledge was mainly for religious practices. The “Corpus Hippocraticum” (circa 400 B.C.) attributed to Hippocrates described techniques for dressing wounds, assuming the existence of internal membranes supporting the organs. Galen of Pergamon (129 216 A.D.), dissecting animals, described membranes surrounding muscles, erroneously attributing the “rete mirabile” (“strange web”) structure to humans. His concept of “pneuma”   vital energy circulating in the body   perpetuated the perception of fascia as a medium for the distribution of vital forces for 15 centuries. As recently as A. Vesalius in “De Humani Corporis Fabrica” (1543) corrected Galen's more than 200 errors, including this one. His engravings showed fascia as a separate structure, although not yet systematized. Despite the falsification of Galen's theory, such a long period of its influence on culture has left clear traces in our beliefs and language. We can find them, for example, in the expressions: “I felt a surge of energy”, “I sense good/bad energy from him” etc. The term “pneuma” also appears in some ghost stories. ● A limited-edition fine art print in museum-quality, archival standard, on acid-free paper without optical brighteners, compliant with ISO 9706. Each artwork is available in 20 numbered and signed copies.

The origin of the term “warp”: in Old Norse “varp” meant „the cast of a net”. The origin of the term “fascia” can be traced to the Proto Indo European stem “bhasko”, meaning “bundle” or “ bunch.” This stem evolved to the Latin “fascis” - “to bind”, “to gather into a bundle”, and then to “fascia” – a term meaning both “strips of cloth” used as “bandages” and decorative “ribbons”. The term “fascia” in an anatomical sense, similar to the contemporary one, was probably first used by anatomist J. Hunter in 1788. ● A limited-edition fine art print in museum-quality, archival standard, on acid-free paper without optical brighteners, compliant with ISO 9706. Each artwork is available in 20 numbered and signed copies.