"A series of sculptures present animalistic forms in various stages of egg brooding. Their wet-looking bodies are in various shades of blue, their eyes are staring back at us, their body designs do not fit into clear classifications. The sculptures softly activate the viewer’s visual memory of vaguely familiar patterns: an egg sack of an amphibian species, a two-headed snake, a beluga whale, a deer, a snail and so on. Situated deep in an uncanny valley of something looking alive but clearly alien to our senses, they represent a population of unlikely life-forms frozen in a cross-section of time. These compact glass-like sculptures blend the highly synthetic materials like polyurethane resin with minerals like rock crystal, obsidian, labradorite, hematite and carnelian. They are a continuation of the Soft Approximation sculpture series that began in 2022. The series is defined by the use of generative models, 'cross-breeding' images of my older art-works and research materials to generate new forms, and subsequently material translation using 3D modelling, printing and manual studio craft. The works take the idea of a synthetic assemblage towards a new degree of amorphous complexity. What I’m trying to achieve is an effect of a somewhat alive creature-sculpture that is looking back at the viewer with a nonhuman gaze. It's both animal and algorithmic, a product of many steps of translation. The sculptures approximate their initial nature and the path it took for them to get to their present forms. Any approximation can also be seen as a form of future forecasting, a model of potentials".
-Katja Novitskova