With hypnotic visuals and futuristic concepts, Maxim Zhestkov, for almost two decades, poses questions about the nature of the physical and digital worlds. His works are virtual sculptures based on computer simulations and algorithms that exist in bespoke digital galleries, challenging the traditional importance of museums as places for the perception of art. At the core of Maxim’s artworks lies realisticity, as every project is based on algorithms that accurately capture the laws of nature.

See his latest drops, Artificial Organisms #1 and Artificial Organisms #2 here.

One of the pioneering artists in the realm of digital imagery, Zhestkov has been creating his computer worlds for over two decades. As the artist describes, his fascination with computer graphics began with the first computer that he got at the age of six, the moment when he found out that he can create multiple worlds with the help of new technologies.

Experimenting with digital illustration as a teen, Maxim decided to study architecture and graphic design at university to learn more about visual arts and to integrate this knowledge into his practice. From 2D worlds, Maxim became interested in three-dimensional artificial universes, and, since then, 3D graphics and motion continue to be his main media for self-expression.

For Zhestkov, his work was always about decoding the real world with the help of digital tools. Having started his practice in the 2000s, the artist did not have access to 3D tools that were developed later and that have laws of physics incorporated into their algorithms. To get closer to reality, Zhestkov conducted experiments with real-world objects, examined their motion, and, using this information, animated digital objects manually. This hacking approach was defining for digital artists of that era, such as demosceners, who were pushing forward the possibilities of their computer, modifying the software to create unusual visual and sound effects.

Another characterizing trait of Zhestkov’s pieces is their totality. The artist is responsible for every aspect of the work — abstract computer simulations that serve as his main characters, architecture, and sound. Compounding different media, Zhestkov constructs experiences with close attention to every detail and makes every seemingly insignificant thing an important part of his vision and story.

In his new series called Artificial Organisms, Maxim makes a step further and moves from ambiguously sentient yet amorphous matter to fully developed creatures. They keep fluent movement seen in other systems created by the artist but become more structured and seem to stick to a more strict set of rules. Organized similarly to the creatures existing in the real world, Zhestkov’s digital organisms remind of aquatic animals, looking organic and digital at the same time.

This ambivalent feeling is the lens that Zhestkov uses to look at the development of artificial intelligence technologies. Based on the structure of our brain, they turn out to be different and not fully comprehensible, even to their creators. Using human knowledge and structures developed by nature, AI transforms the initial patterns into something unpredictable. It is not a part of nature and not a product of the culture—it is something in between that mutates by developing its own principles.

This uncertainty about the inner working of an AI is the reason it, potentially, needs to be confined, at least in its infancy. One of the means of control for such a technology is what theorists call an AI box, a hardware and software system that restricts AI’s access to the outer world and blocks any possible interference with electromagnetic signals and its contacts with people. Locked in a cage, an AI is treated like a form of life, an animal in a zoo or in a research lab observed by silent spectators.

Zhestkov invites his viewers to think of ways to coexist with these unknown creatures. His organisms are not hidden, they exist in gallery-like spaces that naturally induce the viewers to slow down and to try to begin a dialogue. Patiently communicating, humans and non-humans can find ways to exchange experiences and to empathize with each other in a beneficent symbiosis. Looking at them through the windows of our devices, we become closer to rethinking our world and relationships with other actors having a different perception of everything around us.

The first and the second NFTs from the series are published on SuperRare.

By Mikhail Komashko, art critic

Eduard Zentšik is a contemporary Estonian genre-busting artist. In his creative work, he has managed to unite localness with a global vision, to shatter the viewers expectations and to deceive the spectator in a way that no one has seen previously. See his first minted work on SuperRare here.

At first view, his self-positioning as “Unknown Artist Zentšik” is an offer for the spectator to believe in the primacy of the art object over the art source.  His ironical understatement of his role in the artistic process is not a give-away game, but an honest-to-goodness statement though a wily one.

The main E. Zentšik’s art object is “playing the artist”.  The fancied artist deconstructs the philistine notion of commitment to style: the selection of forms varies from the traditional pictorial art to the actionism. The Artist “zentšikizes” each style and trend. Eduard Zentšik presents to the viewer his own version of oscillation in the post-modernism era.  With ease, he juggles with methods, habituates trends and adopts styles. Destruction, mixing and aligning of each guise – all this makes the Artist trans-universal.

If Jeff Koons is said to combine the world most beloved style – kitsch- with the world most beloved content – pornography – then Eduard Zentšik has managed to find place for everything reverently loved by the broad public audience. In the hypothetical gallery filled with all manifestations of the Artist, everyone will find something they like. Modigliani’s elongated profiles, Giger’s attractive horribleness, Mucha’s icon-likeness and composition, pre-Raphaelites’ magic, Rothko’s and Pollock’s objectless compositions and obsession with colour. Filigree playing a canon game in the artist’s version creates an amazing balance between the known and unknown, between the common art-space and Eduard Zentšik’s personal style.

The brand of “Unknown Artist Zentšik” is well known in his native region of the North-Eastern Estonia. The participant of a whole number of presentations, the facilitator of young artist exhibitions, populariser of the contemporary art process, a guest at any important event, a photographer, sculptor, an installation artist— all these make the Artist an easily recognizable figure in the local environment.

Caught by the pandemic 2020, the Artist admits that he does not understand and does not see a clear-cut way for further Artist’s coexistence with Chronos and virus. However, the crisis does not impede his keeping on art-study in the framework of his tried-and-tested principles.

A series of symbolic digital retro-manipulations makes use of the methods well known to the Artist’s followers. Among those are blurring the boundaries between the artistic and the illustrative, expedience of the representation in both museum frames and a book cover format, a skillful aesthetic mashup of archival photographs and medieval illustrations.  The new works feature the theme of the “pause and focus adjustment” displayed to its fullest degree.

The other side of Zentšik’s actual manipulations lies in creating the foretaste of the loss of a signal. The sensation of TV or radio white noise is achieved by using dots, figures, symbols, glitches — a recurring insignificant pattern superimposed onto an image. Reflexively, the spectator “tries to tune the picture”.

The post-pandemic world will demand from artists to rediscover themselves anew and to reinvent hottest new methods:

Unknown Artist Zentšik is already in the on-going changeover process.

„I am a graphic designer and a freelance artist. Most of my art projects have never been seen. Hopefully it’s time to show the cryptoart. It is of great importance for me to participate in the movement of the NFT of artists. Necessary to indicate the cultural significance of crypto art. This is very promising, this is the future and it is changing the art world before our eyes. The best inspiration is when artists support each other. I am honored to be part of the SuperRare.”

One of the projects is “Golden dream”. Exclusively on SuperRare.

ZEDART Crypto.
Dreams in dreams. Codes and symbols, magic and sorcery, error in eternity.
A series of art works of conceptual surreal absurdity. A world where there is no time. Eternity in the cryptoart world.

First owner the NFT comes with 2 pigment art prints (70x100sm) unique and signed by the artist.
Thanks to SuperRare for a family of artists who support each other!

SuperRare: https://superrare.com/zedart

Instagram: https://www.instagram.com/artzentsik.nft/

Portfolio: https://www.zentsik.com/

Twitter: https://twitter.com/ArtZentsik

Art: https://www.saatchiart.com/zentsik