Pursuing belonging and harmonic equilibrium, we chart immaterial architectures, interlacing existence’s hidden filaments into a filigree of signs that subtly realign our felt sense of world and self.
Lortie and Institunia operate as an ontological dyad that oscillates between presence and absence, matter and post‑matter. Our practice unfolds at the threshold of negative ontology, thickening pictorial surfaces until they dilate into mutable aesthetic fields.
Through intuitive, transmediatic gestures, digital apparitions migrate onto analogue supports where the primal tenacity of paint absorbs and metabolises the technoscape of the new millennium. Cultural artefacts from multiple epochs cling like lichens, drawing unexpected nourishment from earlier strata of time.
Sarcophagus, embalmer, celebration: each motif opens a coffin for the future while refusing closure. Lortie embalms matter into memory; Institunia forces the lid ajar, turning negation toward forward‑leaning intent. The resulting friction fuels the work.
Anchored in nexialism, we splice disciplines and temporalities to engineer a phenomenology that lingers within the infra‑thin seam between being and non‑being. Our art generates conditions for its own becoming, redefining what viewers see, know, and imagine.
We exist in motion. We become.
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