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Date Minted:  April 23, 2020

Artist Description: Digital art work is made on Android ,using professional apps for glitch ing ,editing and bending ,Nice looking art describes awakening and ruling an evil power in INTERNET

CohentheWriter’s Commentary:

From some angles, birth and death look so much alike as to appear brethren. In one, the being emerges from the void, in the other, the being emerges into it. In both, there is a kind of waking, or, rather, a kind of transfer, and the being escapes into this new realm, that of the living or the dead. It is upon this fine line that artist Prokopevone has balanced their intricate piece of 3D art, A W A I K I N G, a hyper-cube thunderclap of sharp edges and degraded colors and skulls. A W A I K I N G is a fascinatingly unique piece, one which aesthetically explores colors, textures, the ancient vs. the modern, while subtextually appearing to explore the consciousness of AI, questioning the chasm between life and death. In A W A I K I N G is a being emerging into the world, though this begs the questions: What being? And into which world? Prokopevone stops short of providing us easy answers, but packages their heady philosophy in a wrapper of silver and green and black and gold, covering it in impressive and varied texture, and ultimately asking us to make sense of a composition where chaos is the only constant.

It’s difficult trying to linguistically describe what’s happening in A W A I K I N G, but I’ll try. Bear with me if it gets confusing. Let’s start from the bottom and work our way up, beginning with the bizarre surface, mirrored in some spots, silver in others, dark black or rainbowed in others still, a kind of TRON-inspired ground made of individual squares all linked together. It calls to mind TRON because it seems to harken back to our cultural concept of cyberspace from the 80’s, the realm of Neuromancer and WarGames and, yes, TRON, too. This surface alone is cause for examination: the way colors reflect within it, the way the squares are bent and broken so as to provide subtle texture, or the way they erupt outwards, dislodged and distended, as they take on three dimensions. Appearing in an expansive batch like a mountain range, the squares are responding to the enormous figure exploding up from out of them, a behemoth of a yellow skeleton, though one that is overlaid in a digital filter so as to appear a being born of the digital world. With golden skin and blurry, lagging edges, its pained, screaming expression is both the physical and ideological center of the piece. Around the skeleton, a smattering of floating cubes —hundreds of them— seem to have broken off of the main figure, and out here, unattached to the form the skeleton represents, they merely hang in the air, unmarried from their surroundings or form, reflecting the colors around them, shimmering in hues of gold and red and yellow. In the background, the cyberspace locale seems to be breaking down altogether. In one spot, emerging out of a black void are bright green dots like those of an early computer matrix. In another, lagging graphics seem to suggest hanging stalactites, implying that we are deep within a cave, or deep underground. But though colors bunch in places, though textures are varied, and though it’s impossible to completely describe all the events taking place in the piece, the cornerstone is and continues to be the wailing skeleton, its face turned upwards, the edges of the skull incomplete and fuzzy. A W A I K I N G is clearly chronicling this being’s entrance into a world, but which world? As we continue to analyze this dense marvel of an artwork, we only stumble upon further and further questions.

Which, in some ways, mirrors pieces of more traditional collage, where the more time one spends examining the piece, the more one begins to ask questions about the connections between unlike things, wondering why they were juxtaposed together in the first place. Here, however, we’re dealing not with recognizable objects, but with unlike abstractions. All call upon the same collective-unconscious visualization of cyberspace, but all are culled from different corners of that universe. The dot matrices of the earliest computers. The 80’s inspired surfaces. The CGI graphics of the skeleton. We are herein seeing these separate-but-similar aspects of the digital experience all smashed together. Never, really, do any come close to mimicking real life, but perhaps they aren’t meant to. Even the skeleton —closest thing to realism we have— is overlaid in enough disconfiguring graphics as to ensure it is considered in the same digital language as we use to consider the rest of the piece.

I’ve already mentioned the line this piece walks, the ideas it may or may not want to engender. But with so many different allusions to aspects of the digital experience, and with a title as direct as A W A I K I N G (where the word is misspelled to include AI), it seems a somewhat logical assertion that what Prokopevone is trying to capture is the birth of the AI itself, or perhaps the birth of the internet, or maybe the effect of the entire digital world now that it’s emerged forth from its geometric prison and taken shape, taken form, grown a body, nascent as that body may be. Presented here not as a savior, however, but as a kind of destroyer, a skull with grim reaper connotations. I’ve no idea how the artist feels about the advent of cyberspace into our daily lives but, at least judging from the image here, I can’t imagine it’s very good. An angelic image this is not. One full of pain, destruction, and change, it most certainly is.

At least there are lots of pretty colors.

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