Olga Tobreluts, Irina Annina, and Dmitry Bulnygin come together in Notes from EDEN, a poetic exhibition unfolding as a dialogue between painting, digital image-making, and sculptural installation. Through distinct artistic languages, the exhibition reflects on perception, fragility, memory, and the shifting boundary between the natural and the constructed world.
At the center of the exhibition are works from Olga Tobreluts’ Transcoders series — paintings that emerge from a complex process of translation between digital and material realities.
Today, programming increasingly relies on the encoding of images: verbal language proves insufficient for describing and generating new structures. The transcoder of images, intended for the creation of programs, formatting, and information storage, scans the surrounding world, translating visual and material forms into digital code.
In the works of the Transcoders series, Olga Tobreluts begins with a figurative image which she transforms into coded structures using three-dimensional modeling software. She then painstakingly reconstructs these visual forms on canvas through the techniques of classical painting. The result is a striking synthesis of digitally encoded imagery and painterly tradition.
Although the resulting works appear as abstract painterly compositions, the painted code remains readable by digital devices: when scanned, it can be decoded back into the original figurative image. In this process, painting becomes a site of translation between digital encoding and material presence, where classical painterly methods preserve within the canvas a hidden image accessible simultaneously to human perception and machine vision.
In Transcoders, painting functions as an intermediary language between the analog and the virtual, restoring physical presence, texture, and sensual depth to images originally generated by algorithms.
In dialogue with Tobreluts’ technologically mediated visions are the dreamlike monochrome landscapes of Irina Annina’s Alien Presence series. Annina reflects on the crisis of visual experience in the age of infinite image production, where photographs are endlessly created, consumed, and discarded. Against this saturation, her restrained landscapes propose a contemplative alternative — intimate, silent spaces removed from the noise of digital circulation.
Drawing inspiration from the myth of paradise and from Kenneth Clark’s reflections in Landscape into Art, Annina constructs her own enclosed Eden: a hidden territory protected from the accelerated rhythms of contemporary image culture. Her deliberate use of monochrome heightens the emotional and metaphysical resonance of landscape itself, emphasizing its value even when stripped of colour and spectacularuty.
Completing the exhibition are new works from Dmitry Bulnygin’s sculptural series. Using discarded industrial materials — beer caps, tin cans, screws, nails, coins, and fragments of iron — Bulnygin constructs delicate floral forms that appear suspended between growth and decay, resilience and vulnerability. His sculptures inhabit an ambiguous territory where the organic and the manufactured become inseparable: cold industrial debris is transformed into fragile botanical structures, while nature itself appears strangely artificial, almost mechanically engineered.
In Bulnygin’s works, the boundary between the natural and the constructed world dissolves. What initially appears to be a celebration of vegetal life gradually reveals itself as a landscape assembled from the remnants of consumer culture and industrial production. The artist draws attention to the paradox of contemporary existence, in which human-made systems increasingly imitate, replace, and penetrate natural environments. Yet rather than presenting this transformation as purely catastrophic, Bulnygin reveals an unexpected vitality within discarded matter itself. His metallic flowers suggest the persistence of life even within the exhausted materials of civilization, proposing a new hybrid ecology in which fragility and endurance coexist.
Together, the works in Notes from EDEN form a layered meditation on contemporary existence: on humanity’s desire to preserve beauty amid technological transformation, on the tension between organic life and digital systems, and on the enduring myth of paradise as a space of refuge, memory, and imagination.
