Art (Artemy) Alexeev. Born in Leningrad in 1984. Grew up in a creative environment.
As a result of increasing interest in architecture and photography, as well as distinct passion towards the city of St Petersburg, an idea was born: to deviate from the traditional delivery of landscape and urban photography, and try to picture the magnificent Petropolis cityscape in an unorthodox, futuristic manner, thus establishing a certain connection between the renown 18th to 20th-century architectural complex and the fast-paced, highly technological present-day lifestyle.
Since then, this approach has evolved and spread to other countries, cities, streets, buildings, interiors, objects and points of interest. The PERCEPT catalogue is constantly growing, its reach and scope steadily increasing, its objectives limitless.
The final form of works presented is hugely influenced by a variety of movements in art, music and architecture, and the people surrounding them. Suprematism and geometric abstraction, science fiction, jazz fusion and techno, hi-tech, deconstructivism and dynamic architecture, and such heralds of their time as Kazimir Malevich, Maurits Escher, Mark Rothko, Ezra Stoller, Santiago Calatrava, Oscar Niemeyer, Dieter Rams, Miles Davis, Zaha Hadid, Salvador Dalí, Isaac Asimov, Friedensreich Hundertwasser, Andreas Gursky, Hiroshi Sugimoto, Tadao Ando and Hans Ruedi Giger is but a fraction of what helped shape the exhibits.
Year 2052. Due to rising geopolitical tensions and impetuous climate change on planet Earth, a newly developed artificial intelligence codenamed DAEDALUS, put at the head of UNESCO, is to launch a high-priority project aimed at creating and maintaining a visualised catalogue of greatest cities and their landmarks for the purpose of their virtual preservation.
With unparalleled bandwidth capacity, it accumulated and brought together a remarkably wide range of architectural and landscape design phenomena of centuries past. The virtualisation process was handled by an automated system of next-generation HRG52 drone hives. Equipped with a unique perception algorithm, DAEDALUS managed to analyse the vector of planetary evolution, and successfully model what would, in its view, be a number of shapes and forms optimally suited for visual interpretation of any and all objects included in the project’s catalogue.
For the first time since 2027, the prototype algorithm was amended to account all demographics, thus including mechanically and nano-augmented individuals, as well as transgenic organisms. It was later revealed, that the modified algorithm was compiled and executed by DAEDALUS itself without any approval of the upper echelons of management. As expected, the amendment was heavily scrutinised and created much controversy among opponents of transhumanism as a whole, as well as numerous anti-augmentation groups in particular, leaving the project implementation in jeopardy.
Nevertheless, after a long hiatus, the project, often touted as a cryobank of urban facilities, was finally realised. It subsequently became known as PERCEPT: Presumably Effective & Rational, Correlating & Equating Plane Tessellation.
All works presented here are ultimately a photograph. One work equals one photograph. A rotated, multiplied, layered, stitched with a copy of itself, rotated once more, multiplied while stitched with a copy of itself, layered and stitched while being rotated and stitched, and finally rotated while being layered onto, multiplied, stitched and rerotated, photograph.
What you see before you is what a viewfinder has caught a glimpse of. With just one exception. It didn't see things rotated, stitched layered onto and multiplied. And transferred to a sizeable piece of hard medium.
Alexey Sergienko Gallery, St Petersburg, September 2014 — printed works, personal exhibition