SOLVM I
MCSK Solo Exhibition
April 17 to 30, 2025
Light, Code, and the Space Between.
Where language flickers and form begins to take shape
MCSK is an artist and technologist with roots in Italy and Croatia. His work carries the layered memories of European painting traditions, religious iconography, and the war that marked his childhood. Moving between painting and algorithms, between tactile gestures and computational logic, his practice quietly questions the relationship between form and meaning in today’s image-saturated visual culture.
Painting, drawing, typography, data structures, and coded language—MCSK places heterogeneous media side by side. Not as a mere hybrid, but as an attempt to let differing systems co-exist without dominance or collapse. SOLVM_I, his solo exhibition, presents three distinct formal approaches—digital painting, plotter-based drawing, and encoded typographic compositions—all of which explore what happens when two unlike entities meet, converse, and begin to build meaning together.
〈SOLVM_I〉 juxtaposes the sacred light and symbols of Renaissance religious painting with the fractured language of pixels, glitches, and digital noise. Gold leaf, once a material of transcendence, is here refracted into flickering bits of unstable light. Painting is no longer a static act of depiction but becomes a mutable surface—an image in a state of ongoing renewal. The stability of the past and the precarity of the present collide on a single plane, and from that collision, a new visual sensitivity emerges.
〈REPLICATIO〉 unfolds as a series of drawings created through collaboration between the artist’s hand and machine intelligence. A single drawing is reinterpreted daily by an AI-driven pen plotter, resulting in subtle variations that accumulate over time. Repetition here is not about duplication, but transformation. Each machine carries its own mechanical rhythm, and the rules defined by the artist are constantly bent and retranslated by the system. REPLICATIO repositions the machine not as a passive tool, but as an active agent of form—a co-creator operating within a field of human-nonhuman collaboration.
〈CODE〉 begins with memory. In the midst of war, in underground shelters, the artist created a cipher to communicate with a friend—a private language formed in a space where spoken words often failed. That code returns here not as nostalgia, but as form. Through typographic structures and algorithmic interpretation, language becomes visual once more. These works operate between language and silence, between poetry and signal. Each word is no longer a unit of meaning to be decoded, but a surface that holds sensation.
Across all three series, MCSK constructs spaces where dual systems—past and present, human and machine, language and image—intersect. These encounters are rarely stable. They hesitate, shift, and sometimes fracture. But it is precisely through this fragility that new aesthetic structures emerge. As Gilles Deleuze once said, art is not about representation, but the production of sensation. MCSK follows this proposition closely, tracing what takes shape when worlds overlap—not perfectly, but attentively.
The artist does not offer conclusions. Instead, he stays with what comes before clarity. Where light flickers, the hand pauses, and language has not yet arrived. As Jacques Rancière wrote, art is a redistribution of the sensible. It makes us feel what was once imperceptible. SOLVM_I follows this logic. It is an open experiment in reconfiguring the boundaries of perception.
This exhibition quietly asks its viewers: Where do our emotions wander, suspended between past and future? Where is the conversation between human and machine still unfolding, and where is it leading us? What lingers behind the words that have not yet arrived?
Within these questions, we each return to our own senses, our memories, our ways of seeing. Art, here, does not assert—it listens. And in that quiet, SOLVM_I proposes a way for dissimilar systems to meet and reflect one another. May this exhibition become a place to consider that possibility. And perhaps, a moment to encounter the image not yet spoken.
