ART BRUSSELS 2026

“A Self-Devouring Vortex” is a multimedia installation that explores the viscous cycle of self-consumption through two interconnected elements: a digital animation and an array of sculptural objects. Within the audiovisual work, a chorus of adolescent zombies orchestrates an opera piece, voicing guttural chants that evoke a disturbing blend of anguish, desire, and ennui, thereby immersing viewers in a liminal space of visceral emotion and existential dread.

This work is crafted using cutting-edge game design software, wherein the artist employs motion capture technology to embody the digital characters. Acting as a spectral conduit, the artist’s corporeal presence inhabits these virtual bodies, transforming into ghostly entities that haunt the confines of the monitor and blur the boundaries between body and machine, reality and simulation.

The central piece—a digital animation presenting musical moments between its zombie protagonists—is set in an abandoned school, where they remain suspended between boredom, detachment, and anguish. The tangible component of the installation features an arrangement of school chairs marked by the passage of time, accompanied by backpacks that serve as vessels cradling a series of intricately designed 3D-printed nostalgic keychains. These objects evoke a suspended moment of collective memory, loss, and potential revolt. A floor-based vinyl element reproduces the wooden surface of the virtual setting, reinforcing the continuity between digital and physical space.

At its core, the project interrogates the figure of the undead as a metaphor for the subjugation of corporeal agency under necro-capitalist forces, where death is commodified, transformed into currency, spectacle, and consumerist entertainment. It confronts the paradox of life and death as commodities in a cycle that feeds on its own fragmentation, posing urgent questions about agency, mortality, and the spectral persistence of capital in contemporary society.