Elegy of the Future: A Dystopian Overture

Elegy of the Future invites viewers into a contemplative landscape where past and future culminate in a single, haunting present. These images stage an encounter with absence—of civilization, of certainty, of linear time itself. What remains are the transparent presences of these mythological entities, water, deserted cities, and memory.

The works present a world after the end, where ancient ruins and future decay become indistinguishable from one another. Within this liminal space, these feminine figures emerge simultaneously as presence and absence, moving through abandoned halls with the silent persistence of the dreamlike. These figures carry echoes of Pre-Raphaelite painting—the same melancholic beauty, the same sense of women caught between two worlds—while existing in an environment that suggests technological collapse and ecological reclamation.

Drawing on mythological archetypes of water nymphs and spirits of place, the exhibition explores femininity not as a subject, but as an enduring force that outlasts the structures built to contain it. These spectral presences navigate rooms where human ambition has dissolved into cold and constantly moving waters, where artificial light flickers over organic growth. They are witnesses to impermanence, embodiments of what remains when everything else collapses.

The exhibition asks: What remains when civilizations end? What forms does beauty take among the ruins? This continuous interplay between decay and resilience, between the artificial and the natural, suggests that destruction and creation are not opposites, but partners in an eternal cycle. In this work, the future is already ancient, and the ancient appears urgently contemporary.

Elegy of the Future is ultimately a meditation on the distant past, on transience and continuity, offering not answers, but an atmospheric contemplation—a space to reflect on what we leave behind and what refuses to disappear.