Spheres 18-21
AVANTGARDEN: SPHERES 18-21
Virtual reality environments published on VRChat, 2023.
AVANTGARDEN: SPHERES 18-21 (ALIGNMENT DIARIES / NOISE FLOWERS), Audio-visual artworks, 2024.
ALIGNMENT DIARIES, audio-visual artwork, 5:09 min.(sound: AIR)
ALIGNMENT DIARIES, audio-visual artwork, 0:59 min.(sound: EARTH)
ALIGNMENT DIARIES, audio-visual artwork, 0:58 min.(sound: FIRE)
FRAGMENTS 1-26 (ALIGNMENT DIARIES), audio-visual artworks, 0:39 min. each (sound: WATER)
NOISE FLOWERS 1, Audio-visual artwork, 14:07 minutes
NOISE FLOWERS 2, Audio-visual artwork, 28:12 minutes
3D computer graphics and digital sculpting, world building, AI Image generation, post-processing, sound: Tanja Vujinovic
Production: Tanja Vujinovic/Ultramono
Consulting
iotrip, Software Engineer
Mika Pi, Software Engineer
RonBreIan, Software and Audio Engineer
Friends from VRChat
SPHERES 18–21 form a four part fractal virtual environment constructed as inhabitable sculpture. Each world operates as a spatial experiment in scale, gravity, and systemic interaction.
Proto machine structures are distributed across the environments as infrastructural agents, regulating spatial logic and movement. Orientation is destabilized. Visitors jump across unstable planes, fall into depth, and re enter through respawn mechanics that reset position without erasing experience.
Published on VRChat, the work occupies a social VR platform typically driven by entertainment and user generated spectacle. Within that context, SPHERES 18–21 functions as a counter environment that foregrounds non linear structure and collective presence over performance.
These are constructed ecosystems of sound, avatars, and bodies in motion. The virtual world is treated as public architecture, a site where agency, exploration, and shared presence are spatially negotiated.
Round, soft geometries draw from biomimetic structures and principles of cohesion found in natural systems. At the same time, the sculptural landscapes reference the utopian language of the space age, a moment when synthetic materials and large scale infrastructure were imagined as vehicles for collective progress.
SPHERES 18–21 revisits that historical optimism not as nostalgia, but as material to be re-examined. It asks what remains of those ambitions inside contemporary networked platforms, and whether visions of collaboration, equity, and shared infrastructure can be meaningfully reactivated within environments shaped by spectacle and algorithmic visibility.
ALIGNMENT DIARIES extends the spatial logic of the VR worlds into composited video and sound. These works assemble 3D sculpture, generative AI imagery, and layered post production into condensed environments structured around four elemental references: Air, Earth, Fire, and Water.
From this elemental framework, the focus shifts closer to the ground in NOISE FLOWERS. The series examines natural mimicry and symbiotic habitats as structural models. Referencing early plant life and flower insect interdependence, the work translates biological entanglement into synthetic visual systems.
Working at nano and micro visual scales, NOISE FLOWERS constructs fractal ecosystems where plant and insect forms merge into digital hybrids. These environments are algorithmically generated approximations of growth, mutation, and adaptation. Surfaces shimmer, split, replicate, and dissolve through AI compositing and digital sculpting processes.
The work interrogates how natural forms and color frequencies have historically been appropriated for aesthetic decoration, detached from their original function as biological signals and data. In this translation from survival code to surface effect, nature becomes pattern. NOISE FLOWERS reverses that flattening, reactivating ornament as system rather than decoration.
Sphere 18, virtual reality art installation, 2024.
NOISE FLOWERS 1, Audio-visual artwork, VIDEO STILLS, 2024.
NOISE FLOWERS 2, Audio-visual artwork, VIDEO STILLS, 2024.
Alignment Diaries, Audio-visual artwork, VIDEO STILLS, 2024.
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