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About

I am not an animator.
I am not a motion designer.
I do not control every pixel.
That is deliberate.

I work with chaos:
the kind algorithms produce.

I work with AI, generative visuals, physical materials.
The medium is not the point.

What matters to me is the moment when the algorithm slips away from my intention.

Sometimes I give it text.
Sometimes I draw reference frames.
Then the system takes over.

I set the rules.
The algorithm breaks inside them.

What fails beautifully, I keep.

I am a visual artist drawn to chaos, especially digital chaos. Chance has always been essential to my process, whether I am working with installation, physical materials, or digital image-making. Long before AI became central to my practice, I was already working with generative graphics and systems that could produce forms beyond direct control. When neural networks entered my field, I immediately recognized them as an ideal medium. They did not replace my earlier tools, but expanded them, giving me a new way to work with unpredictability, transformation, and emergence.

I am interested in art that remains subtle rather than blunt or overly literal. What I look for is a thin, almost imperceptible boundary between the real and the unreal, where something can feel familiar and impossible at the same time. That ambiguity matters to me. I want an image, object, or installation to suggest more than it explains, and to create a state in which perception becomes slightly unstable.

Available for: exhibitions, curatorial projects, brand commissions, projection mapping, stage visuals, interactive installations, spatial media commissions.

Practice

Moving fluidly across formats — from short-form social video to architectural projection mapping, from interactive installations to stage visuals and sculptural collaborations. Each project adapts to its medium: vertical video for social platforms, full facade mapping for festivals, reactive systems for physical installations, live visuals for performances.

Tools shift with the work: generative graphics, 3D, TouchDesigner, Notch VFX, Unreal Engine, Unity, AI-assisted pipelines, analog synthesis through collaborators. The through-line is the treatment of the digital image as a living system — something that grows, breathes, and responds to space, sound, architecture, and the presence of the viewer.

Selected venues & events

  • 2026 — Western Lights Festival, Reno (Ephemera, with Daniel Popper)
  • 2025 — Prosvet Light Festival, Perm (Mechanics of Winds)
  • 2025 — NUR / Prosvet Festival (Glitch in the Cultural Code series)
  • 2024 — “City of Light” / “Territory of the Future. Moscow 2030”, Red Square, Moscow
  • 2024 — Nuanu, Bali (Kriya, with Daniel Popper)
  • 2023 — Antique ruins, southern Turkey (TEODIVERS, field project)
  • 2022 — GULAG Museum, Russia (concert series)
  • 2022 — Mangup Tales Festival · State Museum “Here on Taganka” (@Buddha)

Selected collaborators

  • Daniel Popper — sculpture
  • GOROZHANIN — music, analog synthesizers
  • It’s good to be a tree — music label
  • NoMusicians — electroacoustic improvisers

contact

olegpars@gmail.com

elsewhere