Unwanted Signals
are landscapes of information we instinctively refuse to hear. They are visual echoes of possible futures — warnings disguised as abstraction.
Unwanted Signals
Noise is usually defined as an unwanted signal.
This series emerged from observing paint as a living substance subjected to gravity, time, and its own physical limits. The photographs depict real material processes, yet after being rotated they begin to resemble something entirely different: landscapes, seismic records, sound waves, ruins, maps, or fragments of unknown architectures.
I call them Unwanted Signals because they evoke the experience of receiving messages we would rather not hear.
They are not illustrations of specific events. Instead, they occupy a space between matter and metaphor. What appears as an abstract accident becomes a horizon. What appears as a stain becomes a warning. The images suggest the presence of information without ever fully revealing its source.
Created in a time marked by instability, conflict, and collective uncertainty, these forms inevitably recall post-apocalyptic terrains and traces of invisible catastrophes. Yet their meaning remains open. They function as signals arriving from an unknown future — fragmented, distorted, and difficult to decode.
For me, creativity begins with resistance to the obvious. Newness is rarely found in new objects; it emerges through new ways of seeing. By transforming accidental material processes into imagined landscapes, Unwanted Signals questions the reliability of perception itself.
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VIDEO “UNWANTED SIGNALS / Irreversable “—————————————————————————————————————-
The video begins with a visual metaphor — paint flowing upward, defying the laws of gravity, which at first glance evokes a sense of absurdity and surrealism. Simultaneously, we hear the voices of past and present dictators — Hitler, Stalin, Putin, and others. These voices symbolize the irreversible impact their actions have left on the world. They represent traumatic moments in history when humanity was confronted with the horrific consequences of actions that could never be undone. However, when the video is reversed, the sounds of the dictatorial speeches also play in reverse. This creates a temporary absurdity, as if the past could be rewritten or undone. Visually, this is reinforced by the absurd flow of paint in the opposite direction. Yet, through the illusion of reversal, the inevitability of real events is emphasized — even if it were technically possible to reverse time, their consequences remain with us forever. The main idea of the video is that history, like the life of each person, is a series of actions and decisions that cannot be changed. The cruel decisions of totalitarian regimes have left deep wounds on the body of humanity that cannot be healed, and their influence cannot be “erased,” even if we try to reconsider these events in a new light.
Object Meeting/Transfiguration on exposition of Savchenko Gallery, 04,12,2021
