Login | Register

Provisional Orders

Provisional Orders takes its title from two terms. “Provisional” designates the incomplete, unstable, and continuously shifting character of an arrangement; not its failure, but its condition.

“Orders” refers to systems of relation through which elements are brought into recognizable structures.

At stake is not the final form of a structure, but the processes through which elements are arranged before their relations consolidate into a fixed order. Here, attention turns to situations in which coherence emerges only provisionally, while the potential for transformation remains embedded within the work itself.

Under these conditions, surface, structure, image, material, and environment no longer occupy fixed roles. What appears as surface may become structural; what functions as structure may dissolve into image or disperse into a surrounding field. Individual elements form temporary constellations through layering, repetition, fragmentation, and material transformation held together through relations that remain unstable, where cohesion and disintegration coexist, and where seemingly stable configurations reveal internal variation and latent transformation.

Order is not approached as a stable or final condition, but as a provisional state that holds the potential for reorganization, displacement, and ongoing transformation.

Artists

No data was found

Digital Artists

Morpho

Morpho’s works do not operate as representations of digital space but as conditions in which the status of the image itself becomes unstable. The simulated environment is not treated as an alternative reality, but as a structure that exposes how perception is organized through anticipation.

What appears is never given as presence. Instead, visibility is continuously deferred: forms emerge through calculation, interruption, and reconstruction. The image does not confirm what is seen but stages the distance between seeing and knowing. Within this logic, the body is not a figure located in space but a variable within a system - subject to parameters, iteration, and error. Agency shifts from depiction to process; meaning is produced not by what is shown but by the instability of its articulation.

Morpho’s practice therefore situates the digital image as a site of negotiation. Rather than resolving perception, the work maintains a state in which recognition remains provisional and expectation structurally unfulfilled.

Artist profile and further information available on the artist’s website: https://www.morpho.vision/

Studio 2505

In Studio 2505, time becomes a material-elastic, inconsistent, and strangely intimate. Within the steady ritual of the studio, duration stretches and collapses: minutes thicken into hours, while entire phases of transformation seem to vanish in an instant. Seated at his desk, the artist appears almost still, yet he is quietly displaced-pulled forward through time-while the world around him accelerates, mutates, and reconfigures. The work frames the studio as a threshold: a private chamber where concentration alters physics, and where change arrives both imperceptibly and all at once.

Infatuation

Infatuation approaches love as a choreography of space and time-an unstable, magnetic exchange in which two presences continuously translate emotion into form. The cube, elemental and uncompromising, becomes a shared architecture: a minimal world that contains, compresses, and amplifies intimacy. Inside this simple geometry, affection is not sentimental but structural-built from tension, proximity, and the constant negotiation between distance and fusion. The work suggests that love is less a feeling than a field: a space that two bodies generate together, and are transformed by in return.

Clímax

In Clímax, the image is earned. The work speaks to patience as a form of pressure-an accumulation of time, restraint, and becoming-until the long-awaited moment finally resolves. The gradual emergence of the face marks a culmination: not a sudden revelation, but a threshold crossed after sustained effort and internal growth. Here, climax is not spectacle; it is arrival-an austere satisfaction that comes when process crystallizes into presence, and the work finally meets the intensity it has been quietly building toward.

Erfan Ashourioun

Erfan Ashourioun’s practice operates at the intersection of the digital and the tangible, where data assumes material form and material returns to the logic of code. His works begin within computational systems - where forms are modelled, simulated, and distorted—and later emerge as physical presences through 3D printing, silicone casting, and hybrid sculptural construction. The result is not a translation from digital to real, but a continuous exchange between algorithm and substance.

Distortion, for Ashourioun, is not a failure of the image but a generative strategy. Each altered surface and spatial deformation marks the transition from virtual modelling to physical manifestation. The object becomes the trace of data materialized, while matter itself acquires the qualities of a digital artefact- smooth, reflective, synthetic. In this oscillation, the work questions the boundaries between perception and computation, between what is sensed and what is calculated.

Through the integration of sculptural processes and digital fabrication, Ashourioun creates a space in which technology and corporeality co-produce meaning. Silicone, resin, and industrial materials function not only as technical supports but as conceptual agents that embody transformation. His objects evoke both technological precision and organic tactility, revealing that the digital condition is inseparable from the sensory and the physical.

Ashourioun’s art thus examines how information becomes form, how immaterial systems acquire weight, and how the human body is re-inscribed within machinic processes of making. Situated between object and code, his works propose an expanded materiality - one in which the virtual is not opposed to the real, but continuously negotiates its presence through matter, texture, and form.

Full CV and further information available on the artist’s website: https://erfanashourioun.wordpress.com

The Last Letter to Mother

It begins from the moment speaking occurs without certainty of being heard. Addressing gains meaning when its destination remains unreachable. “Mother” becomes a point toward which I move, without the possibility of a complete return.

I work with fragments that resist forming a coherent memory. I do not attempt to reconstruct the past; I remain with what cannot be reassembled. The images appear as unfinished attempts - discontinuous, interrupted, and suspended.

It stays close to distance itself; a space where speaking becomes a way of holding what can no longer be recovered.