Nelya Akimova
Photo & Didital Art, printed on canvas, embroidery, 85x58cm, 2025

What is reality — what we see, or what we feel? What is more real: the tree we can touch, or its reflection born of light and perception?
In the dialogue between what is seen and what truly is, a deeper question emerges: is the material world truly objective, or is it merely one projection of a subtler, inner reality — one that shimmers, vibrates, and slips away the moment we try to grasp it?
Sometimes, it is the intangible, the elusive, the imagined that proves more authentic than what appears solid and visible.

The schematic embroidery of the microcircuit seems to hide, revealing itself only to an attentive viewer. It turns the natural form into a question: what is reality - living matter or a skillfully created illusion, similar to an image on a screen?

Irina Metz
Mixed media on canvas, 57x80 cm, 2025

Lost paradises of modern times turn tension between reality and the imagined into never ending journeys of the soul in search of happiness and one’s inner self. My exploration of ideals that forever elude us echo the legends of Atlantis and the lost coordinates of Eden: places of perfection that cannot be found, yet remain deeply inscribed in our collective longing.

The blue flowers and blue birds are recurring symbols of my art inherited from ancient myths and European Romantic tradition. Fragile and eternal at once they are suspended between dream and reality, reminding us that happiness is not a destination but a state of seeking. Transparent spheres containing human dreams evoke both containment and infinite possibility, suggesting that our deepest ideals are glimpsed through fragile, shifting lenses.

The surreal landscape becomes a metaphor for a paradise outside time and space, a realm both within and beyond us. To chase it is to enter a process of self-discovery: each step towards the unknown reveals another layer of our own soul. The pursuit of Atlantis, the search for Eden, is never about reaching a fixed point, but about the unfolding of new dimensions of understanding.

This eternal search, without coordinates, becomes the essence of human existence: a dialogue between the visible and the invisible, the lost and the yet-to-be-found. Through my art I invite the viewers to enter this dialogue, to lose oneself in reflection, and to discover that the path to paradise lies in the act of searching itself.

Oxana Akopov
Video art, 02:00 min, 2025

"The Floating Secret" is a short video work filmed from the perspective of a drifting bottle in the open ocean.

The project explores water as a carrier of memory and raises questions about ecology, disappearance, and human fragility.

The video captures a voice from within: a quiet monologue reflecting on memory and hope through time.

Natasha Freeman
Oil on canvas, thread, 50x120cm, 2025

“Odysseys” is a metaphor for individual navigation in a world without coordinates, where the ocean mirrors fluid instability and the journey itself becomes the only constant. The work embodies the movement toward self-awareness in the spirit of Hermann Hesse’s thought that a person’s true vocation is to discover their own essence.
The blue depths, captured in plein-air studies of the Atlantic, Pacific, and Indian Oceans, are poured onto the canvas using Helen Frankenthaler’s method. The free flow of oil paint records both freedom and slipping time, while simultaneously evoking the sensation of losing one’s ground.
A thin thread extending beyond the canvas reflects the trajectory of searching for the path to oneself. By following its unpredictable curves, the viewer enters a meditative space where the inner and the outer align.
The crumpled sheet at the end of the thread becomes a message from a discovered - or not yet found Eden, a sign that each odyssey remains open and unique.

Dina Zakmane
Textiles (cotton, fabric), cellophane, 100x100x160cm.

Metamorphoses of the Soul: Are They Possible?
Can a person qualitatively change themselves throughout life, not horizontally by altering their environment, home, circle of friends, or wealth, but vertically?
Is it possible for one's personality to transform, to change fundamentally? If so, what is the range of this transformation? If not, why?
What binds a person to their current self, and what qualities hold them back? Are these limitations rooted in internal qualities or in the environment? What stands in the way of discovering the Eden within oneself?

Anna Kapyrina
Clay, self-made glazes, 27x15х15cm, 2025

What if we never left Eden?
What if exile is not a departure, but a distorted gaze?
To evaluate, to explain, to be ashamed of ourselves, to constantly control everything in pursuit of a “better version” of the self and a more convenient version of nature.

It’s frightening to admit: here I am, real.

The series «Fruits of the Unrecognized Eden» is a dynamic meditation on the sufficiency and inherent value of what is. What matters here is the very method of working with materials: each touch of the clay changes its shape and texture, and nothing is corrected in pursuit of perfection. Each firing, with the artist’s own glazes, uncontrollably adds drips, looseness, and layers of earthy tones. The artist archives every transformation within the sculpture, embracing each outcome and rejecting judgment.

These pieces - swollen, disproportionate, crooked - are raw clots of authenticity and the fleeting beauty of life on Earth. Sacred fruits of an unseen garden we may never come to recognize.

Natalya Raduenz
Mixed Media on canvas, 60x100cm, 2025

This tree is neither the Tree of Life nor the Tree of Knowledge; it captures the moment when the coordinates of Paradise were lost, or perhaps rejected, by humanity.
Divided into black and white halves, the tree embodies duality: knowledge and ignorance, simulation and truth. Its roots sink into darkness, its crown dissolves into haze, and all that was once whole becomes a fragile portal, where the viewer shifts from being a mere observer to standing at the threshold of choice.

Viktor Vinichenko
Canvas, oil, acrylic, charcoal, 200x175cm, 2025

Take a step, and your presence becomes history.
You are not merely seeing portraits; these are shadows of eras that have shaped the foundation of our being.
The faces of those who came before us. Each one is a layer of memory, fragile, yet eternal.
We are another layer in the foundation of time.
Ash transforms into memory, memory into trace, and trace into image.
Every step is a movement in the eternal dance between life and death.
We are used to looking at art from the outside, but here we are inside the process.
We become part of the image, leaving our unique mark upon it.
This is an act of co-creation.
New layers are laid upon the old.
Each generation is like a coal seam that, under the pressure of time, can turn into a gemstone.
Eden is not a lost garden, but an opportunity for co-creation.
Together, we realize a design greater than any single “I.”

Julia Flit
Mixed media, 170x70x70cm, 2025

"False Horizons" is a sculptural lightbox made of LED panels and 16mm film strips. From afar, it resembles a glowing cityscape, but upon closer inspection, the viewer sees that the illusion is built from fragmented footage of nature. Suspended between nostalgia and simulation, this piece questions our perception of utopia—how urban ideals consume the natural world and repackage it as spectacle. This artificial Eden, elevated and glowing, offers no access—only an unreachable projection of paradise built from memories.

Julia Flit
Plaster, flowers, 11 pieces, 10x15x2cm each, 2025

"Fossilized Dream” is a series of botanical imprints created by encasing flowers in plaster. Once vivid and full of life, the plants have dried out, crumbled, or burned—leaving behind only delicate outlines and charred remnants. These works reflect on the transient nature of utopias and the quiet violence of time. What remains is not the dream itself, but its absence—a fragile fossil of lost longing.

Veera Romanoff
Video art / Digital art, Single-channel video, 2025

This work transposes the myth of the Garden of Eden into a digital matrix, where code assumes the role of a new nature. Data streams cascade like rivers, weaving an illusion of order, yet within the fracture a serpentine glitch is born — a crack where stability unravels. At its core emerges a red apple: not a fruit of nature, but a luminous error, the point where myth and algorithm converge.

Here, the serpent is no longer a beast but code itself, alive within the network. Its temptation is not the taste of knowledge, but the invitation to let the algorithm infiltrate the body, rewrite DNA, and render the living programmable. The seduction is techno-ontological: a choice between fragile life and its transfiguration into system.

The Eden to come is an information forest, where trunks are currents of data and leaves ignite with pulses of light. The red apple endures as the last trace of the organic, a symbol of decision: to seize it in pursuit of truth, or to surrender to the final erasure of human nature.