Symbiotic Drift: The Exhibition
Aissulu Kadyrzhanova (United States)
Kadyrzhanova is a Kazakhstan-born painter working across oil and acrylic. Trained in Almaty, Moscow, and at Tyler School of Art, she bridges the realist traditions of the Russian school with experimental Western approaches. Her practice considers cultural memory, landscape, and the politics of representation, inviting viewers to slow perception and dwell in the longue durée of looking. Exhibitions span Central Asia, Europe, and the United States.
IG: @aissulu_kadyrzhan
The Sea Wave
2025, Rubber, metal needles, acrylic on wood, 11×18×3 in (28×46×7,6 cm)
This work reflects on the ecological catastrophe of the Aral Sea through Timothy Morton’s dark ecology, dwelling in strangeness, unease, and unresolved grief. Formed from an acupuncture applicator, a medical device for healing, its surface of sharp, blue-painted needles recalls the vanished waters of the sea. Once a source of life, the Aral became a site of loss and slow death through human intervention. A healing tool defined by pain embodies this paradox of care and harm.
Monologue to the Aral Sea
2025, video
Once the world’s fourth-largest lake, the Aral Sea now survives as salt, dust, and fractured memory. This work translates disappearance into moving image: blue fields retract until bare land remains, while a female voice in Kazakh recites an elegy that binds grief to complicity. Rather than moralizing loss, the piece stages entanglement – beauty and devastation inseparable, language haunted by absence. In the spirit of dark ecology, geography becomes testimony, and the viewer inhabits a trembling interval between witness and participant.
Courtesy of the artist.
Courtesy of the artist.
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Sasha Zhitneva (United States)
Working in stained and fused glass and plastic-based sculpture, Zhitneva examines how value and memory are constructed from fragment and residue. With training in math and design, she sutures analytical structure to tactile poetics.
Myth Me Not (from the A PETting Bestiary series)
2025, reclaimed plastic containers, 5.5 × 4 × 3 ft (168 × 122 × 91 cm)
Composed from discarded plastic – matter saturating land and water – the figure is monumental yet infirm, unable to see, hear, or speak. Intended permanence dissolves into residue; what should have vanished remains. The work is both memorial and indictment, asking how cultures decide what deserves precious care and what becomes invisible even as it persists.
Courtesy of the artist.
Courtesy of the artist.
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Inga Allakova (Spain)
Allakova investigates existence, oblivion, and loss through materials that hold biological memory.
IG: @ingaallakova • ingaallakova.com
Shawl
A wall-hung canvas woven from human hair reframes the material as cultural image rather than abject residue. In absence of the body, strands braid into patterns of experience; the video reveals their dynamic life. By granting hair the place of painting, the work shifts value and attention, asking how memory persists when subject and support exchange roles.
Courtesy of the artist.
Courtesy of the artist.
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Wadim Sei (Cyprus)
Sei transfers digital sketches onto canvas via complex airbrushing, using permeable fabrics as stencils. Randomness in spray and fluorescence becomes a language of dream and ambition for the AI era.
IG: @WWYES • wadimsei.com
Drifted Horizon; Entropy Bloom; Liminal Fields
2025, media
Imagine an observer centuries ahead reading our traces. Digital ruins fuse with vegetal growth; sprayed layers settle like dust. Fluorescent remnants glow as memory mutating into life. The series positions the artist as future archaeologist, mapping a shared destiny across organic and synthetic time.
Courtesy of the artist.
Courtesy of the artist.
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AlessandraBB (Spain)
Alessandra BB works across performance, installation, and painting to consider memory, gendered norms, and the body’s quiet rituals. Fabric operates as archive and proxy – a soft architecture where personal and social scripts can be rewritten.
IG: @abbpainting • alessandrabb.art
Where Are You
(video installation, year pending)
Underwear becomes a second skin for stone, joining intimacy to geological time. Water threads the fabric, suturing private memory to a wider ecosystem and letting human presence recede. The work carries a feminist charge: materials coded as feminized care are relocated into liberation, where vulnerability functions as method rather than deficit. Contact replaces representation; matter learns from matter, and perception shifts toward an ethics of close, sustained attention.
Courtesy of the artist.
Underwear becomes a second skin for stone, joining intimacy to geological time. Water threads the fabric, suturing private memory to a wider ecosystem and letting human presence recede. The work carries a feminist charge: materials coded as feminized care are relocated into liberation, where vulnerability functions as method rather than deficit. Contact replaces representation; matter learns from matter, and perception shifts toward an ethics of close, sustained attention.
Courtesy of the artist.
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Theodora Eliezer (United States)
Eliezer is an antidisciplinary artist, writer, and chronomancer working across installation, performance, moving image, sound, and theoretical research. They are co-founder and creative director of Momma Tried magazine, stocked at Tate Modern, Palais de Tokyo, and MoMA PS1. Exhibitions and residencies include Untitled Art Fair, the Joan Mitchell Center, Locust Projects, and Frameline Film Festival. Holding an MFA from the School of Visual Arts, Eliezer’s current projects examine non-linear time, queer temporalities, and the intersections of magic and quantum theory.
Soft Decay
Soft Decay explores fungi as an organic internet and distributed intelligence. Drawing on scientific research that positions fungi as a solution to the plastic crisis, the work reclaims decomposition from the abject and reframes it as a technology of care. Anthropomorphic and animist in perspective, the installation embraces impermanence and attends to loss as fertile ground. Here, the natural world figures as benevolent caregiver, guiding humans toward repair and recalibration in the wake of ecological error.
Courtesy of the artist.
Courtesy of the artist.
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Dasha Gauser (Russia)
Transitioning from fashion to sculpture and installation, Gauser repurposes the runway’s stylization into metaphorical shells and capsules. Her objects probe memory, refuge, and identity through materials that oscillate between allure and estrangement.
IG: @dasha_gauser_art • dashagauser.ru
Hybrid Forms: In the Third Place?
Observing carnivorous plants, the series cultivates forms that hover between floral and predatory. Recognition slips; contours resist naming. The pieces inhabit a third zone where the living and the imagined co-produce shape. Hybridity is not an exception but a working condition, and relation is staged as a risk taken in common – attraction, danger, and care coiled inside one porous surface.
Courtesy of the artist.
Courtesy of the artist.
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Katya Bessonova (Russia)
Bessonova imagines hybrid life-forms that flatten hierarchies between human and nonhuman, drawing on Morton and Haraway to think mutation and mythopoesis.
IG: @katyabessonova
Interspecies
2025, media
Bodies blur across flesh and device, organ and algorithm. The work rejects purity as a lingering fantasy and proposes collaboration as default. Forms feel familiar and estranged at once, asking viewers to recalibrate kinship beyond species and tool.
Courtesy of the artist.
Courtesy of the artist.
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Alice Potts (Great Britain)
Alice Potts is a bio-innovator and material specialist whose work reimagines how the body and environment generate new design systems. She researches material diversification from a creative, design-driven perspective, developing scalable bio-based materials with specific performance capabilities. Potts is known for pioneering sweat crystallization, bio-based plastics, and new material applications within fashion, positioning her practice at the intersection of science, sustainability, and cultural imagination.
IG: @alicenapotts • alicepotts.com
Perspire
Sweat carries memory and identity, transforming the body’s most ephemeral trace into material form. In Perspire, individual perspiration is crystallized onto fashion objects, producing singular formations that are both biological and aesthetic. Each crystal is unique, grown through the rhythms of the body, and reframes waste as resource. The project situates sweat as storyteller and sustainable medium, proposing an intimate ecology where personal presence becomes artifact.
Courtesy of the artist.
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Aksana Prutskova (Russia)
Pruttskova is a digital artist envisioning speculative ecologies and liminal terrains. Working with mimicry and dissolution of the self, she renders future ruins and utopian fragments where the organic and synthetic braid into unstable habitats.
Networks
2025
The image stages Morton’s “mesh” as lived environment: interlaced branches operate as mediators between matter and reflection, memory and its distortions. Lines sprout, fade, and rejoin, undoing closure and modeling slow hybridization. Completion is treated as illusion; process is the visible form. The viewer is invited to inhabit a field where organic and artificial are co-constitutive, and where subjectivity distributes across conduits rather than centering in a single body.
Courtesy of the artist.
Courtesy of the artist.
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Camila Sposati (Brazil)
Sposati is a visual artist and researcher whose practice investigates transformation and energy processes across geological, biological, and cultural registers. Drawing on methods akin to scientific research, she examines phenomena from the microscopic growth of crystals to the tectonic shifts of the Earth’s crust. Her work often juxtaposes material and historical processes to question linear time, anthropocentrism, and the divisions between culture and nature. Living between Brazil and Europe, she develops installations, sculptures, and performances that challenge how knowledge is constructed and transmitted.
Phonosophia
Phonosophia extends Sposati’s Earth Anatomical Theater, combining clay instruments, drawings, and performance. The project links gravity, voice, and embodiment through instruments shaped as hybrids of mouth, ear, and chamber. These forms amplify and externalize sound, proposing that voice is not solely human expression but material resonance with the earth. Performed in a conical theater without backdrop, the instruments blur distinctions between stage and offstage, object and subject, matter and spirit. Sound emerges as a site where materiality and metaphysics converge, reversing roles and unsettling the categories through which we define presence.
Courtesy of the artist.
Courtesy of the artist.
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Ekaterina Guskova (Russia)
Guskova works across painting, sculpture, and video to process abandonment and loss, turning personal archives into material studies of vulnerability and persistence.
IG: @yamultik • @shlakshlak.art
Made in Plastic (series, year pending)
Plants and small personal objects – hairpins, lighters, toys, chargers – are sealed beneath a transparent film. Polyethylene functions as membrane and museum case, preserving and isolating at once. The series reads like an Anthropocene catalog where flora, plastic, memory, and waste coexist without hierarchy. The human is not separate from its tools; we live through them, and our images are cast in their shine.
Courtesy of the artist.
Courtesy of the artist.
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Ekaterina Tiuhta (Serbia)
Tiuhta’s large-scale painting interrogates trauma at the intersection of medicine, technology, and image, often through monumental figuration.
IG: @EKATERINA_Tyuhta • tiuhta.art
Symbiotic Crucifix
2025, mural, 8 m height
A central body is fixed within an Ilizarov apparatus; surrounding fragments repeat the motif across multiple anatomies. Healing hardware becomes iconography, fusing mechanism and flesh. Read through dark ecology and decolonial imagination, the painting speaks from a border position where pain is neither spectacle nor privacy but shared infrastructure. Trauma appears as a distributed system – a hyperobject exceeding biography – and witnessing becomes a collective act.
Courtesy of the artist.
Courtesy of the artist.
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Anton Khamchishkin & Yana Osman (Russia)
Collaborative practice combining cinematic perception and layered narrative. Their work explores how sound, image, and story intersect to reveal what lies beyond the surface of events. Khamchishkin, a cinematographer and educator at VGIK, brings an approach that treats the camera as a listening device. Osman, a writer and researcher with a background in journalism and communications, developed the methodology of parallel narrative while teaching at the Higher School of Economics. Together, they create projects where acoustic and narrative threads converge into immersive visual forms.
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Elena Le Taon Fattakhova (Germany)
Fattakhova is a Tatar-German artist and architect whose practice spans sculpture, performance, painting, and text-based narrative. She traces how care and labor are organized as forms, using structural analysis and a minimalist visual language to explore the intersections of personal trauma, cultural heritage, and belonging.
IG: @le_taon_art
Mother's Worker Bee
Raised among hives, the narrator maps love and distance through apian metaphors. Architecture becomes a human hive — a biological nest scaled to urban life. The work reads filial effort as design logic: to build is to address a withheld gaze, to labor toward recognition while learning from bees’ rigorous sociality. Pain and creation are not contraries but adjacent rooms in the same structure.
Courtesy of the artist.
Courtesy of the artist.
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Ekaterina Trusova (Russia)
Trusova explores chimera as method, revealing the masks through which matter appears and slips away.
IG: @truskaterina_
Portrait of a Plush Dog
The toy functions as tamed animality — a pedagogy of passivity learned early through plush, alphabet, and zoo. Trusova estranges this comfort image, letting object-oriented ontology trouble perception: the toy exists beyond its use, while the viewer negotiates between thing and feeling. A quiet tension opens, where innocence is not erased but rearticulated as a problem of looking.
Courtesy of the artist.
Courtesy of the artist.
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Varvara Silanteva (Russia)
Silanteva reflects on abundance and its unease, staging doubled images that tilt idyll toward decline.
IG: @Varvara_Silantieva • silantieva.com
The Language of Flowers (series, year pending)
Florid surfaces meet their distortions, producing a sterile beauty on the brink of rot. Luxury wavers into premonition. The work treats desire and decay as one circuit, asking viewers to parse attraction without consolidating it into denial.
Courtesy of the artist.
Courtesy of the artist.
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Anna Sinitsyna (Spain)
Sinitsyna is a Russian-born artist based in Spain whose practice explores identity through the lenses of language, community, and displacement. Her background in linguistics and her experiences across diverse cultures – from a close-knit Quindío community in Colombia to international expatriate circles in Spain – inform her view of belonging as a layered and shifting construct.
IG: @Anettsin
Painting on Black (title/medium/year pending)
(2025, coated glossy paper, acrylic, fine liner pen, 70 × 50 cm)
This large-scale work presents a densely layered field of hybrid figures, animals, and spectral presences, rendered in stark contrasts of black, white, red, and yellow. The surface resists immediate legibility, compelling the viewer to navigate a shifting terrain of forms that emerge and dissolve simultaneously. Its visual density resonates with Timothy Morton’s dark ecology, where ecological reality is not orderly or serene but entangled, uncanny, and unresolved. Birds, fish, and human-like silhouettes drift in ambiguous relation, evoking a world where categories collapse and interdependence becomes both haunting and inescapable.
Courtesy of the artist.
This large-scale work presents a densely layered field of hybrid figures, animals, and spectral presences, rendered in stark contrasts of black, white, red, and yellow. The surface resists immediate legibility, compelling the viewer to navigate a shifting terrain of forms that emerge and dissolve simultaneously. Its visual density resonates with Timothy Morton’s dark ecology, where ecological reality is not orderly or serene but entangled, uncanny, and unresolved. Birds, fish, and human-like silhouettes drift in ambiguous relation, evoking a world where categories collapse and interdependence becomes both haunting and inescapable.
Courtesy of the artist.
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Iurii Chernyshev (Russia)
A multidisciplinary artist with a background in TV and new media, Chernyshev researches attention, flicker, and emergent modes of perception.
IG: @iurii_4
Metro Microbiome (multiscreen video, year pending)
Microbial movement in the subway is presented as partner life, not threat. Based on scientific datasets, the installation reframes the observer effect through dark ecology: humans and technospheres host other agencies that co-author the city. Screens reveal patterns of sensing across scales, inviting coexistence with the alien and unstable.
Courtesy of the artist.
Courtesy of the artist.
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Julia Marinchenko (Russia)
Marinchenko works with silicone and lens-based processes to stage vulnerability at intimate scale.
IG: @iuliia_marinchenko
Uninvited (object, year pending)
A dust mite rests on a fragment of a silicone face — intrusion rendered almost tender through stillness. The piece addresses bodily autonomy without spectacle, holding the viewer in a small field where fear and fragility are legible but not exhausted by narrative. Violence appears as residue that lingers in sensation.
Courtesy of the artist.
Courtesy of the artist.
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KISI (Netherlands)
KISI works with personal myth and transmitted memory, staging thresholds between presence and afterlife.
IG: @kisiartist • kisiartist.com
After Life (project, year pending)
A pact between friends – a sign from beyond as a lifted corner – anchors a meditation on death without dread. Golden light, lilies, and the simplest gesture of material displacement carry hope rather than closure. The work positions memory as bridge: time runs vertically, and art holds open a space where reunion is imaginable.
Courtesy of the artist.
Courtesy of the artist.
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Luna Popp (Netherlands)
Luna Popp creates hybrid sculptures containing immersive micro-environments.
IG: @LunaPoppArt
Museum of Dreams (series, year pending)
Each piece houses a lucid-dream simulation, inviting the viewer to step inside an evolutionary theater. Human and other-than-human capacities fold together, suggesting consciousness as communal fabrication rather than solitary possession.
Courtesy of the artist.
Courtesy of the artist.
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Yevgenia Bondareva (Belgium)
A psychologist and figurative artist, Bondareva works across collage, painting, and video to register feminine experience as layered, resistant surface.
IG: @yevgenia_bondareva
Venus of the Anthropocene (year pending)
A prehistoric icon returns composed of plastic fragments and packaging. Sacredness persists, altered by petrochemical time. The figure becomes both archive and mirror: what culture hides sediments into form. Rather than nostalgia, the work offers a lucid accounting — value remade from residue, femininity recast as refusal to disappear.
Courtesy of the artist.
Courtesy of the artist.
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Verenika Perla (Russia)
Perla paints human/nonhuman intimacies, folding decolonial critiques of the Anthropocene into embodied form.
IG: @verenika_perla
Ways of Being Alive (painting, year pending)
A human body and a tree merge, boundaries dissolving into a shared anatomy. The hybrid reads as tender and uncanny, proposing radical closeness as a viable future. Rather than allegory, the image is a rehearsal for other kinds of participation.
Courtesy of the artist.
Courtesy of the artist.
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Olga Nekrasova (Russia)
Nekrasova’s practice tracks growth, rot, and mutation, reading alien forms as our co-creations.
IG: @OlalalalaNek
Bioenergy Structures (series, year pending)
Plastic sprouts through nature and nature through plastic: repression returns as bloom. The works resist purist fantasies, proposing instead that we learn to live with what disturbs us. Unease becomes a tool for attention, and attention a route to shared inhabitation.
Courtesy of the artist.
Courtesy of the artist.
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Roman Savchenko (Montenegro)
Savchenko is an artist working in abstraction, with a focus on how forms, lines, and colors influence perception. His practice examines the threshold between recognition and ambiguity, tracing how visual language can evoke affect and associative response. Through this exploration, he develops works that attend to the unstable state of being in-between.
IG: @rmn.s.vv
Living Inanimate Beings or the Other Way Around
The work takes shape as a fluid, smoke-like form suspended between organism and matter. Cast in translucent resin, it reads as both imprint and metamorphosis, a momentary capture of motion that resists fixity. Scale remains ambiguous, inviting the viewer into a space of open interaction where the object feels like a living companion. By blurring the animate and the inanimate, the piece unsettles categorical boundaries and gestures toward a mesh of interconnections in which all entities exist on equal terms.
Courtesy of the artist.
Courtesy of the artist.
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Daria Serkova (China)
Serkova is an artist and educator working across installation, video, and performance. Her practice creates sensory and immersive experiences that invite viewers to perceive themselves not as isolated individuals but as part of a larger biological species. Through this lens, she explores how perception, relation, and embodiment shape shared environments.
String Hunter (2025, three-channel video)
The work interlaces science, memory, and ritual through string theory. Three channels unfold — scientific research, a personal story of the artist’s father, and a shamanic vision — set to a score for string instruments based on the Standard Model’s sixteen particles. Knowledge becomes a hunt where physics, myth, and intimacy converge.
Courtesy of the artist.
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Katerina Kazakova (Russia)
Kazakova’s objects treat beauty as fragile system, assembling fragments to think with fault lines.
IG: @art_kazakova_katerina
Fragments of Reality (object, year pending)
Symbols of ruined allure – broken ornaments, reflective shards – form an image of damaged ecologies. The work refuses a single viewpoint, proposing multi-perspectival looking as an ethic. Responsibility is not abstract: it is a practice of seeing complexity and acting within it.
Courtesy of the artist.
Courtesy of the artist.
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Victorya Prosvirnina (Russia)
Prosvirnina recomposes Slavic visual vocabularies within hyperbolic, digital sensibilities.
IG: @Victorya_pvikvik
Hyperflower Timothy Morton #1–3
2025
Vologda lace and Palekh motifs scaffold exuberant blooms studded with eyes. The flower looks back, reviving matter as active subject. Excess functions as critique and devotion at once, suggesting sacredness persists within hyperreality’s glare.
Courtesy of the artist.
Courtesy of the artist.
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Maria Ansh (United States)
Ansh works across painting, sculpture, and collage, developing figures that emerge at the seam of social milieu and primal nature. Raw textures and chromatic tension register identity as ongoing metamorphosis.
IG: @impres27 • mariaansh.com
The Birth of a New Narcis 1–2
2025
Instead of citing Narcissus, Ansh imagines a contemporary being assembled from memory, myth, and environment. Hybridity is generative: what was lost returns as unfamiliar strength. The series reads like a poetics of reconstitution – a body made from attachments that refuse to stay in place.
Courtesy of the artist.
Courtesy of the artist.
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Ilya Golobov (Russia)
Gololobov’s moving-image installations translate atmospheric phenomena into algorithmic patterns, inviting contemplative encounters with scale.
IG: @IlyaGol
Symbiotic Drift. Hyperobject 1
2025
Cloud timelapses feed a generative system that draws maps of weathering — images that feel both planetary and intimate. The piece visualizes nonlinearity and delay, key properties of ecological hyperobjects. Instead of explanation, it offers attunement: a tempo for thinking with forces that exceed human framing yet shape our days.
Courtesy of the artist.
Courtesy of the artist.
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Wadim Mirgorodskii (United States)
Mirgorodskii builds interactive, web-native sculptures that voice our era’s hyperobjects.
IG: @interactive.items • iitems.studio
Octologue (interactive web experience, year pending)
Seven virtual figures — climate change, biosphere, AI, capitalism, nuclear force, religion, information noise — awaken as visitors approach, speaking real-time three-line verses that move from pain to acceptance to symbiosis. Fog immerses the space and marks the elusiveness of scale. The piece frames survival not as mastery but as orientation toward entangled co-being.
Courtesy of the artist.
Courtesy of the artist.
@ 2025 Symbiotic Drift. All Rights Reserved.
