Apocalyptish not good

Apocalyptish draws loosely from the symbolism of the Four Horsemen of the Apocalypse, channeling a sense of unease in response to the state of the world, its chaos, collapse, absurdity, and quiet despair. Apocalyptish suggests something not quite end-times, but hovering close, an almost-apocalypse, theatrical and slow-burning, though with the creeping sense that the fire is already in the room, and everyone can smell the smoke.

Rooted in the visual language of kitsch porcelain figurines, these works transform decorative innocence into grotesque, melting forms. They are sentimental objects reimagined in decay, caught in a state of visual flux, echoing the growing tension between ordinary life and the constant stream of unfolding crises.

The imagery is developed through a combination of earlier 3D works and AI interventions, allowing the past to be reshaped by synthetic tools. The result is a series that feels romantic, absurd, and eerily prophetic, a blurred dialogue between nostalgia, dread, and digital reinterpretation.