Entanglements I

The painting depicts a compact structure resembling a complex network of lines, reminiscent of pipes or wires, ending in stylized, simplified shapes of human figures. The dominant color is a deep burgundy shade set against a neutral gray-beige background. All elements are flat, without shading, giving the whole a graphic, almost schematic character.

The elements form a tight grid, where each “node” seems to emerge from the previous one, creating the impression of uninterrupted flow. The lines bend at right angles, their arrangement evoking an integrated circuit, a neural network map, or a communication diagram. The heads are turned in different directions, as if suggesting the presence of individuals within the system—independent, yet inseparably connected.

“Entanglements I” belongs to the “Limits” cycle, exploring the limits of the individual in the context of systems, social structures, and technology. Despite the apparent anonymity of the figures, each occupies a specific place within the structure—raising questions about individuality, identity, and dependence on the surrounding network of connections.

The painting creates tension between order and chaos, between individualism and collective entanglement. The absence of emotion on the “faces” reinforces a sense of distance, yet at the same time prompts the viewer to ask: are we still separate beings, or already just elements of a larger code?