140cm x 120cmSelf-Amplifying Eternal Oblivion is part of my ongoing project Jetsetters (Jetsetters VI), is a reflection of something deeply unsettling happening in Western society. We&#39;re on a journey where technology races ahead, values shift beneath our feet, and the human spirit often left behind, sacrificed on the altar of exhibitionism. &nbsp;Fame used to be 15 minutes. Now it&#39;s a fleeting five seconds, a flash of over sexualised imagery and recycled ideas. It&#39;s a world obsessed with surface, where the pursuit of attention has become a frantic, almost desperate scramble.I find myself drawn to the chaotic, dystopian landscapes of Hieronymus Bosch, those nightmarish visions of humanity&rsquo;s follies. I see that same unsettling energy mirrored in the frenetic pulse of 21st-century social media. &quot;Jetsetters&quot; lives in that intersection. It confronts the profound emptiness that hides just beneath the polished surface of our propagandised modern lives. &nbsp;It&rsquo;s an invitation to stop for a moment, to look past the endless scroll of superficial connections, and to truly contemplate what it means to be human in an age increasingly dominated by a relentless cycle of propaganda that distorts our very sense of reality.&nbsp;

Self-Amplifying Eternal Oblivion

160 x186.5 cm Resistance Should Have Begun Right Here But it Didn&rsquo;t (Jetsetters V) is part of my ongoing series Jetsetters, created in the wake of recurring nightmares and the unsettling realization that we have reached what I perceive as the &quot;dying empire stage.&quot; This artwork serves as a reflection on how, in our pursuit of improvement, we often become alienated from our instincts and the very rhythm of nature itself.As we strive to be better, we are inundated with the repetition of talking points crafted by social engineers and behavioral scientists. Wrapped in friendly discourse and messaging, we risk creating a monster that is increasingly out of touch with reality. This piece invites viewers to confront the tension between societal expectations and personal authenticity.Through classical references and visual markers from the fashion industry, I aim to illustrate the complex dynamics of manipulation and disconnection. The interplay of bright, flashy lighting on distorted, self-obsessed figures evokes feelings of unease and nightmarish discomfort, highlighting the struggle to reclaim our true selves amidst engineered narratives.&nbsp;

Resistance Should Have Begun Right Here But it Didn´t 

Grotesque figurative new media artwork depicting dystopian nude women and infants with distorted anatomies surrounded by cameras, mobile phones, and technological debris within an eerie Bosch-like environment.

Detail of grotesque new media artwork depicting dystopian nude women and infants with distorted anatomies surrounded by cameras, mobile phones, and technological debris within an eerie Bosch-like environment.

Detail of grotesque new media artwork depicting dystopian  infants with distorted anatomies and a camera within an eerie Bosch-like environment.

Detail of grotesque new media artwork depicting dystopian sculpture like nude women with distorted high-tech anatomies within an eerie Bosch-like environment.

Detail of grotesque new media figurative artwork depicting dystopian nude women and infants with distorted anatomies surrounded by mobile phones within an eerie Bosch-like environment.

Detail of grotesque new media figurative artwork depicting dystopian nude women and infants with distorted anatomies surrounded by cameras, mobile phones within an eerie Bosch like landscape.

Detail of grotesque new media artwork depicting dystopian pregnant nude woman, a shocked man and distorted anatomies surrounded by cameras, and technological debris within an eerie Bosch-like environment.

Detail of grotesque new media figurative artwork depicting dystopian infants with distorted anatomies within an eerie Boschl ike environment.

300cm x 184cm35 712px x 21 888px

StandardLife

The Euphemism State

200cm x 137,81cm&nbsp;11907px x 17280pxThis artwork contemplates a recurring human pattern: what if control arrives not with chains, but with cheers? The artwork depicts a scenario where a perceived liberation takes root, fostering widespread celebration. Subsequent generations are nurtured within this framework, internalizing its prevailing values as self-evident progress. Yet, the passage of time can introduce dissonance &ndash; a quiet questioning of whether deeply ingrained compromises were made, perhaps unknowingly passed down. It raises questions about the origin of societal narratives and the cyclical nature of influence, even amidst narratives of forward momentum.

Primum Animum Tuum Frangunt, Deinde Tibi Dominantur

500cm x 141cm54908px x 15498pxIn this artwork, I draw inspiration from Bartholomeus Strobel&rsquo;s painting,&nbsp;&quot;Feast of Herod with the Beheading of St. John the Baptist,&quot;&nbsp;found in the Prado Museum in Madrid. My piece reimagines this scene as a dystopian feast where the privileged are literally cannibalizing the youth, sacrificing their future for promises that were never kept. The presence of high-tech guns and sci-fi elements serves as a haunting reminder of how our advancements in technology are often wielded as weapons in geopolitical games.This work highlights a grim reality: despite the centuries that have passed, humanity keeps repeating its mistakes. The stories remain eerily similar&mdash;cycles of war and sacrifice persist.&nbsp;By merging biblical and historical references with elements of sci-fi motifs, I aim to provoke thought about how, despite significant technological leaps, human nature remains stranded. We&rsquo;re still stuck in a cycle where power dynamics dictate our fate, and the echoes of history resonate in our present.Even if we become multi-planetary beings, as envisioned by Musk and others, we will carry these same issues to Mars. The dream of escaping our problems through colonization is not a solution; it merely shifts the stage for history to repeat itself.

They Then They Now

130 x 110,74 cm11264px x 13140pxThe ongoing project Jetsetters is a reflection of something deeply unsettling happening in Western society. We&#39;re on a journey where technology races ahead, values shift beneath our feet, and the human spirit often left behind, sacrificed on the altar of exhibitionism. &nbsp;Fame used to be 15 minutes. Now it&#39;s a fleeting five seconds, a flash of over sexualised imagery and recycled ideas. It&#39;s a world obsessed with surface, where the pursuit of attention has become a frantic, almost desperate scramble.I find myself drawn to the chaotic, dystopian landscapes of Hieronymus Bosch, those nightmarish visions of humanity&rsquo;s follies. I see that same unsettling energy mirrored in the frenetic pulse of 21st-century social media. &quot;Jetsetters&quot; lives in that intersection. It confronts the profound emptiness that hides just beneath the polished surface of our propagandised modern lives. &nbsp;It&rsquo;s an invitation to stop for a moment, to look past the endless scroll of superficial connections, and to truly contemplate what it means to be human in an age increasingly dominated by a relentless cycle of propaganda that distorts our very sense of reality

Jetsetters II

Posthumanist Incubator Madonna

100 cm x 117cm11776px x 13824pxThe ongoing project Jetsetters is a reflection of something deeply unsettling happening in Western society. We&#39;re on a journey where technology races ahead, values shift beneath our feet, and the human spirit often left behind, sacrificed on the altar of exhibitionism. &nbsp;Fame used to be 15 minutes. Now it&#39;s a fleeting five seconds, a flash of over sexualised imagery and recycled ideas. It&#39;s a world obsessed with surface, where the pursuit of attention has become a frantic, almost desperate scramble.I find myself drawn to the chaotic, dystopian landscapes of Hieronymus Bosch, those nightmarish visions of humanity&rsquo;s follies. I see that same unsettling energy mirrored in the frenetic pulse of 21st-century social media. &quot;Jetsetters&quot; lives in that intersection. It confronts the profound emptiness that hides just beneath the polished surface of our propagandised modern lives. &nbsp;It&rsquo;s an invitation to stop for a moment, to look past the endless scroll of superficial connections, and to truly contemplate what it means to be human in an age increasingly dominated by a relentless cycle of propaganda that distorts our very sense of reality.&nbsp;

Jetsetters IV

In this artwork, I explore the tension between nudity and Christian symbols, revealing how our current mainstream movements often pull us deeper into the profane. We risk becoming mere flashes of existence&mdash;humiliatingly empty&mdash;while grappling with our innate need for belief and authenticity.Despite our collective awareness of right and wrong, our moral compass appears compromised by societal design.&nbsp;The freedom we were promised can sometimes feel like a mechanism of control, steering us toward hollow pursuits and distractions that dilute our true essence.Inspired by Mircea Eliade&#39;s seminal work, &quot;The Sacred and the Profane: The Nature of Religion,&quot; I reflect on his insight that, despite modernity&#39;s drift toward secularism, remnants of the sacred persist in our lives. Eliade argues that we possess an inherent longing for the sacred&mdash;a yearning that continues to shape us even in a predominantly profane world.Through fashion references, Christian symbolism, and themes of pregnancy and nudity, this artwork invites viewers to engage in a dialogue about the tension between the sacred and the profane. It challenges us to confront our beliefs, desires, and identities in a society that often prioritizes surface-level engagement over deeper connections.

The Sacred is the Opposite of the Profane

130 x 110,74 cm10.368 x 8.832 pxThe ongoing project Jetsetters is a reflection of something deeply unsettling happening in Western society. We&#39;re on a journey where technology races ahead, values shift beneath our feet, and the human spirit often left behind, sacrificed on the altar of exhibitionism. &nbsp;Fame used to be 15 minutes. Now it&#39;s a fleeting five seconds, a flash of over sexualised imagery and recycled ideas. It&#39;s a world obsessed with surface, where the pursuit of attention has become a frantic, almost desperate scramble.I find myself drawn to the chaotic, dystopian landscapes of Hieronymus Bosch, those nightmarish visions of humanity&rsquo;s follies. I see that same unsettling energy mirrored in the frenetic pulse of 21st-century social media. &quot;Jetsetters&quot; lives in that intersection. It confronts the profound emptiness that hides just beneath the polished surface of our propagandised modern lives. &nbsp;It&rsquo;s an invitation to stop for a moment, to look past the endless scroll of superficial connections, and to truly contemplate what it means to be human in an age increasingly dominated by a relentless cycle of propaganda that distorts our very sense of reality

Jetsetters I

Don`t Look Up! II

Don`t Look Up!

In this exploration of femininity, I draw from the unsettling imagery of the fashion world, inspired by the provocative styles of Bourdin and the surreal doll sculptures of Bellmer. As a woman, I&#39;ve wrestled with the meanings and expression &nbsp;of female sexuality and beauty. Adapting to the male gaze, I was captivated by the disturbing but still pleasing aesthetics where emotionless, vacant expressions meet strong, provocative poses. There&rsquo;s an allure in how narratives can emerge from this cold imagery&mdash;stories that transcend mere surface appearances.Like Bourdin, I aim to capture the essence of femininity through bold compositions and colors, embracing unapologetic sensuality. Each pose exudes confidence, inviting viewers to explore the complexities of desire and identity. In the spirit of Bellmer, I manipulate bodies and forms to challenge conventional notions of beauty, revealing the tensions between femininity and the uncanny.Both Bourdin and Bellmer share a fascination with the surreal&mdash;perhaps a fear of real flesh-and-blood women. They and I navigate a landscape where beauty is both alluring and disturbing, reflecting our collective anxieties about femininity in an age saturated with sexualized images.&nbsp;

The ongoing project Jetsetters is a reflection of something deeply unsettling happening in Western society. We&#39;re on a journey where technology races ahead, values shift beneath our feet, and the human spirit often left behind, sacrificed on the altar of exhibitionism. &nbsp;Fame used to be 15 minutes. Now it&#39;s a fleeting five seconds, a flash of over sexualised imagery and recycled ideas. It&#39;s a world obsessed with surface, where the pursuit of attention has become a frantic, almost desperate scramble.I find myself drawn to the chaotic, dystopian landscapes of Hieronymus Bosch, those nightmarish visions of humanity&rsquo;s follies. I see that same unsettling energy mirrored in the frenetic pulse of 21st-century social media. &quot;Jetsetters&quot; lives in that intersection. It confronts the profound emptiness that hides just beneath the polished surface of our propagandised modern lives. &nbsp;It&rsquo;s an invitation to stop for a moment, to look past the endless scroll of superficial connections, and to truly contemplate what it means to be human in an age increasingly dominated by a relentless cycle of propaganda that distorts our very sense of reality