Concurrentix - Art Experiment Series (2024 - Now)

Are we looking at the original, or just the aftermath of its many collapses?
Concurrentix is an ongoing series of audiovisual works that stages encounters between objects and their own derivatives. A figure is resampled, regenerated, re-contextualized until the original and its copies exist in a state of mutual destabilization. What held them together turns out to be less a fact than a habit of perception.
The series began in 2024 as a response to a specific cultural condition: symbols, images, and identities now circulate and reproduce at a speed that outpaces any stable relationship to their source. When everything is a version of something else, consistency becomes an illusion, and collective memory drifts out of reach. Concurrentix does not document this process. It performs it.
Visually, the work operates through collage, fragmentation, and recursive image processing, drawing on traditions of pop art, panography, and plunderphonic sampling. Familiar forms are pushed past the threshold of recognition. Elements that appear connected on the surface turn out to be structurally unrelated. Elements that seem unrelated share hidden logic. The result is a landscape where the distinction between cause and effect, part and whole, has quietly collapsed.
A recent line of work applies this methodology to public archival material - historical photographs, documentary records, images whose authority depends on the assumption that they capture something that happened once. These images are subjected to the same recursive pipeline: cut, regenerated, and expanded into hundreds of AI-generated variants. Then the process is reversed. The original photograph is reconstructed by compositing fragments cropped from its own derivatives. The reconstruction is perceptually precise. Placed side by side, the source and its derivative-assembled double become indistinguishable. The origin no longer precedes the output. It can be assembled from it. The document that was supposed to anchor collective memory turns out to be reproducible from the very material it generated — a paradox in which the arrow between source and result points in both directions simultaneously, and the concept of an authentic original becomes a structural question rather than a settled fact.
Across fractured figures, collapsing terrains, and parallel narratives, the series interrogates the consistency of collective memory, the reliability of identity, and the conditions under which connection itself becomes a question rather than a given. These are not abstract concerns. They are the texture of daily life in an era where common belief is fragmenting faster than new frameworks can form.