Incemination 4
2025, Digital format, Digital print , Surrealism, Contemporary, Conceptual art, Hyperrealism, Futurism, Сучасне мистецтво
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I deliberately chose the grammatically “incorrect” title Incemination 4 to highlight the hybrid nature of mutation and the gradual transition from what seems like an error into something normalized in everyday life. This reflects the fluid boundaries between the real and the simulated, the natural and the artificial.
The idea for this series came to me after visiting an exhibition titled Sycony — which explored the delicate and profound act of pollination, where a bee sacrifices its life to fertilize a flower. I began to wonder: what if the bee did not lose its life? What if the bee was chrome-plated?
Incemination 4 captures this paradox — a chrome bee arrives to tempt the flower, but can it truly fertilize? What then happens to the flower’s life cycle? Can life continue its natural rhythm when the pollinator is no longer alive, but an artificial entity?
Through this work, I explore the fragile interplay between life, death, and simulation — questioning how cycles of existence might transform when the living becomes machine, and what remains of nature’s essence in such a world.
- Country Ukraine
- Year 2025
- Styles
- Medium
Kryvych is a contemporary multidisciplinary artist born in Kyiv, who studied art in both Kyiv and Madrid. Anna explores the mechanisms of human interaction with the world through artistic practice. Her works reveal deeper layers of reality, truth, and existence. She investigates themes of dehumanization, estrangement from nature, and immersion into artificial constructs that distort our connection to the essence of life. By creating visual narratives that resonate with philosophical and apocalyptic concepts, Anna seeks to uncover the hidden forces shaping human experience — particularly through the lens of presence and the exploration of extreme existential boundaries.
Working across painting, sculpture, and object-based installation, she reflects on the shifting boundary between the real and the simulated, the living body and its artificial extinction. Her recent works engage with themes of posthuman ecology, chromatic surfaces, and speculative anatomies — including chrome-finished animals, robots, and hybrid beings suspended between evolution and erasure. She often incorporates vacuum-sealed objects, metallic textures, and artificial skins to explore how presence can become a trace, and how nature begins to perform itself as image.
Kryvych’s artistic inquiry is guided by questions such as:
– What happens to corporeality in a world where everything can be copied?
– Can art still function as a site of resistance in a culture of seamless simulation?
– And is true desire still possible when experience is endlessly reproduced?
Her work has been exhibited in Madrid, Zurich, and the Museum of the History of Kyiv, as well as in numerous group and solo exhibitions across Ukraine and Europe. Recent exhibitions include The Sea (Stable Gallery, Vienna), Fragments (Eye Sea Gallery, Kyiv), Please softer (Octo Gallery, Kyiv), and Spanish Group Exhibition (Galeria Lanza Art, Madrid).
Kryvych’s works are part of private collections in Ukraine, Spain, and Switzerland.
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- 48 bit color depth, 281 Trillion Colors
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- Digital Original Studio
