DISTORTION PROGRAMÉE

At the Edge of Perception: Phenomenology in Motion and Disruption

DISTORTION PROGRAMÉE positions itself at a liminal junction, where analog tactility collides with digital interference, and where contemporary tools don’t merely shape aesthetics but challenge the nature of perception itself. This series unfolds a hybrid visual language that is fluid, pixelated, and kinetic. Motion is refracted into visual echoes, neither nostalgic nor fully synthetic, but something in between. Channeling the legacy of impressionism, these works do not seek to capture the moment; they re-code it. Movement vibrates in algorithmic rhythm, its contours obscured by optical ambiguity. Each piece becomes a site of phenomenological inquiry, calling attention to the instability of sight. Distortions serve as metaphors for a fractured reality and information overload. By stretching, pixelating, and compressing form, the artworks provoke a renegotiation of presence and perception. Seeing becomes an embodied, unreliable act. There is also a mnemonic dimension — experiences coded, corrupted, and reinterpreted over time. The “programmed” distortion functions as both a technical intervention and a conceptual metaphor, linking memory to computational process, glitch to affect. In this way, the work positions itself not only as an image, but also as an archive, a system, and a disruption.