The series The Garden of Yalta is a satire about the perception of war in a world submitted by algorithmic productivity.
The vibrant colors and the lush scenery diverge from a disruptive reality occulted by the media to keep a utilitarian engagement. The paintings represent botanical gardens with at their center two interlaced tennis courts to refer to The Tennis Court Oath by Jacques-Louis David. The reference to David's work emblematic of the revolutionary period points out the historical moments of changes induced by the rising digital era. This digital revolution defines a new societal dynamic that satirically establishes the induced exploitation of human data and consciousness. It also refers to the delimitation of time and space that occurs during games to symbolize how during wartime, our perception of events is disconnected from reality as we are constantly engaged in productive, digitized exchanges. I made an analogy between tennis tournaments, where you have multiple matches simultaneously, and the cognitive engagement of citizens. During tournaments, spectators can switch games when they lose attention.
This subversive analogy between games and conflicts is relevant, considering that we are all under the submissive trends of images and discourses imposed by algorithms. When the power game becomes too complex, the problematic narrative fades away as no winners arise, and the attention is redirected toward binary matters that allow easier subordination.