PARADISE LOST, 2021.

Drawing (colored pencil) on paper

In Paradise Lost, the artist crafts a haunting contemporary allegory about the human condition within the digital era. Two nude figures, exposed and emotionally fragile, lean into one another, enclosed within a suffocating space composed entirely of binary code. These zeros and ones not only construct the walls of their environment—they seem to infiltrate their very consciousness.

The scene evokes the foundational myth of the Fall from Eden, yet here, there is no serpent and no forbidden fruit. The new original sin is the unconscious immersion in a digital world meticulously designed to seduce, capture, and automate. The iconic apple—now a corporate logo—replaces the tree of knowledge. The presence of the Apple symbol at the far end of the composition serves as a silent totem of algorithmic dominance.

Overhead, orange arrows and binary numbers trace the ceiling like a programmed sky, suggesting the systemic reprogramming of thought. Beneath the figures, the floor resembles a network of blue and white circuits, reminding us that even the ground we stand on has been encoded. The human forms, seemingly unaware of their synthetic surroundings, are not the protagonists—they are remnants of a displaced humanity.

The medium—colored pencils on black paper—heightens the tension of the piece. Colors pulse with urgency against the dark background, creating a claustrophobic atmosphere filled with psychological weight. This visual language, precise and deeply symbolic, positions Paradise Lost at the intersection of technological critique and anthropological introspection.

Paradise Lost offers no answers, only urgent questions: What have we forfeited in exchange for digital paradise? At what cost do we trade freedom for convenience? And is there still a way out of this invisible prison?

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