This painting depicts how spatiality can be redesigned in the scope of the digital environment considering the individual as a single productive entity. The strong visual perspective reenforces the notion of spatial distortion following the imposed physical distancing induced by the pandemic crisis.

A socio-technical assemblage on the spatial environment can shape the democratic norm by imposing certain trajectories in order to be compliant with the need of productivity. By remodeling the physical environment through the intervention of dematerialized trends, the city is shifting and borders are rising behind networks. The requirement for security is strongly implemented following either the need of sanitary protection induced by a pandemic or through the rise of the economic norms. Once the desire for protection is required, a new geographical vision emerges with its attributes. An algorithmic management rises and transforms the spatiality by disuniting the various spaces and groups.

To support my theory, I embedded on my painting the blue prints of the HSBC Bank of Hong Kong. A few years back, in my aesthetic research of architectural buildings of banks, I went to visit the HSBC building in HK to identify its geolocation within the city, and observe the human density within its perimeter. The strong economic and politic identity of the HSBC bank symbolizes the future of the spatial conditions and the social contract in a time of discordance with the Chinese political power. I used the blue prints to mark the invisible under-layer of social organization.

I then embedded the cover of Spinoza’s Theologico-Political Treatise to link the question of spatial condition with the political religious belief of sovereignty and expand this question in a digital order where economic productiveness predominates. This notion is also marked by the ancient prints of churches extracted from ´La France Pittoresque´, the book written in 1835 by Abel Hugo.

To support the idea of political disengagement against the power in place, the background on the top of the painting represents a distorted photo of a May Day communist rally in Greece during the confinement. The social distancing in the photo was acknowledging the separation between people and symbolizes the era of physical disconnects in the sphere of political mobility.

All these elements of social construction and existence are linked by drawings of imaginary networks that create new spatial landmarks to define the future of digital existences by inducing the confusion of senses within the representation of our surroundings. This digital transition is finally expressed by the collage of a sketch of a drone in the central perspective of the painting in order to emphasize its disconnect with the physical world. I use the attribute of remote war as society shifted to the invisible enemy of its schizophrenic self in the desire of liberty within the framework of security.

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Cardinal Points - 2020

Occupied - The utilitarian value of physical spaces occupancy and its economic functionality within the digitized Heterotopias.

White Frontiers, The Tale of a Constantly Shifting Borders

Industrial Consciousness

The value of the digital human functionality within the frame of confinement