“For me, photography means capturing reality like a paint brush captures colour” 

With her many-layered panoramas, Victoria Pidust spirits us away into a visual maze, where our perception becomes stirred up – a provocation to the way we perceive works produced with photographic techniques. 

Pidust combines photography and painting by transferring the genre of photography from something that depicts reality to an intrinsically creative medium for presenting modulations of reality. She prepares her work using characteristic photography materials: light, generative processes and equipment – which does not necessarily have to include cameras –, as well as imaging processes from disciplines outside the field. In her pictures, the artist brings together real, abstract and concrete forms of representation. The components of her montages are only partly produced with photographic cameras. In her artistic practice, she applies and mixes a variety of the imaging techniques available: analogue and digital photos, as well as 3D renderings produced by computer programs for architectural models.  

The artist’s images are made up of analogue elements (photographed by Pidust herself) and digital components, where the artist uses 3D programs or allows them to work for her. For example, Pidust works with a creative software for scanning architecture and for producing digital models of rooms and spaces, by interfering with the program-immanent algorithms that are responsible for the so-called pattern recognition. This gives rise to something new and unexpected, the process of creativity has become independent. The computer becomes a creative entity, because she uses artificial intelligence to manipulate true-to-life representations. Chance becomes a central element in the process.

With her hybrids, as Pidust calls her pieces, the artist uses contemporary means to further write in the chapter on generative photography. In her baroque-like work, she brings together a number of supposedly irreconcilable procedures: the images are both analogue and digital, and unite subjective and generative photography. They are produced through human consciousness and artificial intelligence, and they describe the path from 2D to 3D and from 3D to 2D. Behind her aesthetic concept is the idea of mirroring our world with other perceptions. As often as not, looking at the opulent panoramas ends up with an examination of what is “real” in a picture produced with photographic techniques. Pidust’s work not only represents a shift in reality on the visual level, but also pushes the viewer to reflect on traditional patterns of perception, right into philosophical dimensions. 

Carla Susanne Erdmann

Hybrids

The Unknown is a visually striking and symbolic exploration of human energy, power dynamics, and the external forces that shape or drain one's vitality. At the center is a faceless human figure, depicted in vibrant pink hues, with a network of blue lines running through the body, representing veins, energy pathways, or emotional scars. The figure's posture, with one arm raised, conveys strength and resilience, as though it is reaching toward or interacting with something beyond its physical form.

  
The background is composed of concentric rings, painted in gold and black, creating a hypnotic, almost pulsating effect that draws the viewer's focus to the central figure. These spirals also contain text—phrases that seem to offer insight into the thematic core of the painting. Words like "battery," "energy," "power," and "limitless" suggest a narrative about the transfer or loss of energy, perhaps alluding to emotional or psychological exhaustion caused by external pressures or relationships. The text in the spirals, which is illuminated under blacklight, emphasizes the cyclical nature of these power dynamics and the way they perpetually impact the human condition.

  
A hand, painted in metallic blue and gold, reaches down from the upper portion of the painting. This hand appears to hold a paintbrush, connecting it to the figure’s head, as though it is controlling or influencing the energy within the figure’s mind. The presence of this hand introduces a powerful external force, possibly representing society, control, or influence, shaping the individual in ways that are unseen but deeply felt.

  
Under blacklight, the painting transforms. The figure glows with an ethereal, electric energy, while the text becomes even more visible and vibrant, reinforcing the sense of tension between the inner and outer forces at play. The blacklight effect adds an additional layer of meaning, suggesting the unseen or hidden energies that influence us beneath the surface.

  
Overall, The Unknown is a complex, multi-layered commentary on the human experience—how energy flows, how it is taken or given, and how individuals are shaped by forces beyond their control. The use of color, texture, and lighting creates a dynamic, immersive experience that invites viewers to reflect on the power dynamics in their own lives and the ways they navigate these unseen forces.

The Unknown

Flames of Pride vividly captures the interplay between light, color, and form, using a spectrum of hues to explore themes of identity, transformation, and duality. The composition is divided into two contrasting halves, each dominated by distinct color schemes that reflect different emotional and psychological states.

  
On the left side, the painting is awash in warm tones—red, orange, and yellow—evoking feelings of warmth, passion, and intensity. Emerging from this side is the outline of a face, delicately sketched in black, with flowing lines that suggest hair or energy radiating outward. This figure embodies a sense of vitality and creative force, symbolizing the vibrant aspects of human emotion and expression.

  
In the center of the canvas, a delicate figure stands at the convergence of the two sides, almost as if it is born from the meeting of these contrasting energies. The figure appears to be floating or ascending, its form both ethereal and grounded, bridging the gap between the two realms. This central figure is drawn with fine, graceful lines, suggesting purity, transformation, and a connection between the physical and spiritual worlds.

  
The right side of the painting shifts to cooler, more subdued tones—green, blue, and deep indigo—conveying a sense of calm, introspection, and perhaps melancholy. Another face is depicted here, its features blending into the darker, more abstract background. This side feels more mysterious and contemplative, representing the quieter, more reflective aspects of the self.

  
The use of black linework to define the figures creates a sense of unity across the canvas, despite the stark contrast in colors and moods. The central figure serves as a link between these opposing forces, suggesting a harmony that can be found within the self when embracing both light and dark, warmth and coolness, action and reflection.

  
Overall, Flames of Pride is a powerful exploration of duality and the balance that exists within each individual. The artist’s use of color and form invites the viewer to reflect on their own inner contrasts and the ways in which different aspects of identity can coexist and complement one another. The work is both introspective and expansive, offering a visual representation of the complexities of the human experience.

Flames of Pride 

The Connection is a striking exploration of the intersection between technology, science, and the human experience. At the center of the composition is a heart-like form, crafted with a combination of organic and mechanical elements, symbolizing the fusion of humanity and technology. The heart is wrapped in copper wiring and connected to various circuits, representing the lifeblood of modern civilization powered by technological advancements.

The canvas is divided into distinct sections, each conveying different aspects of human knowledge and creativity. On the left side, the painting features a collage of technological components—circuit boards, microchips, and electronic devices—juxtaposed with complex mathematical equations and scientific formulas. This section emphasizes the precision, complexity, and innovation of the digital age, reflecting how deeply technology is embedded in our daily lives.

The right side of the painting shifts to a more humanistic and abstract representation, with a nude figure sketched in earthy tones against a backdrop of binary code and hexagonal patterns. The figure, reminiscent of classical sculptures, symbolizes the enduring human form and the organic essence of humanity, even as it becomes intertwined with digital systems. The geometric patterns evoke a sense of structure and order, perhaps alluding to the coded nature of our reality in the modern era.

Radiating from the heart at the center are bold, colorful lines that divide the canvas into its respective sections. These lines can be seen as the pulse of life, extending from the heart and connecting the different elements of the painting. The vibrant colors contrast with the darker tones, symbolizing the dynamic energy that flows through both the human body and technological constructs.

Embedded in the artwork are words and phrases that invite reflection on the digital era and its impact on human life. The juxtaposition of text, imagery, and materials challenges the viewer to consider the balance between progress and tradition, the synthetic and the organic, and the ways in which these forces shape our identity and future.

Overall, The Connection is a complex and multifaceted piece that delves into the symbiotic relationship between humanity and technology, blending the mechanical with the organic, the scientific with the artistic, and the digital with the physical. It invites contemplation of the ways in which technology has become an integral part of the human experience, while still recognizing the fundamental and timeless aspects of our existence.

The Connection 

No Space; This painting depicts a silhouetted figure reclining in space, hovering above the Earth, which is vividly rendered in swirling blues, greens, and whites. The figure, outlined in a warm golden hue, appears both ethereal and grounded, as if suspended between the cosmic vastness and the vibrant planet below.

The background features a speckled, star-filled sky that adds depth and a sense of infinity to the scene. The moon, depicted in soft, muted tones, watches over the figure, emphasizing the solitude and grandeur of the cosmos. The figure’s head subtly fades into a wisp of smoke, suggesting a connection between the physical and the spiritual, as though the figure is a being of pure energy or thought.

The composition creates a strong contrast between the dark, infinite space and the dynamic, colorful Earth. This contrast evokes themes of isolation, reflection, and the vastness of the universe in relation to human existence. The choice of colors and the fluidity of the Earth’s surface highlight the planet’s liveliness and fragility, while the figure’s golden outline hints at the human desire to find meaning and presence within the cosmic void.

Overall, No Space invites the viewer to contemplate humanity's place in the universe, blending elements of realism with abstract, almost dreamlike qualities. The interplay between the figure and the Earth symbolizes the delicate balance between the tangible and the intangible, the known and the unknown.

No Space

The Gemini Effect: This painting features two figures intertwined, each embodying distinct elements of nature and urban life, creating a visual dialogue between contrasting environments. The figure on the left is rendered in warm, earthy tones with a soft, flesh-like appearance, its body blending into the natural landscape below, which includes a serene lake and towering mountains. The figure’s torso is partially deconstructed, revealing rib-like structures that suggest a merging of human form with organic elements, symbolizing a deep connection to nature.

In contrast, the figure on the right is depicted in cool, metallic blue hues, with a body that seems to shimmer against the warm, golden background. This figure is connected to a cityscape below, which is rendered in abstract, fiery tones, evoking the chaos and vibrancy of urban life. The ribcage of this figure is also exposed, resembling the girders of a skyscraper, suggesting the industrialized, mechanical nature of city environments.

The background of the painting is a blend of warm, fiery colors that evoke both the energy of the city and the warmth of nature, creating a striking contrast that ties the two figures together. The road leading into the city suggests a journey or a bridge between these two worlds, emphasizing the theme of duality.

The overall composition reflects the tension and harmony between nature and urbanization, the organic and the mechanical, the past and the future. The figures, while distinct, are connected through their shared form and exposed ribcages, symbolizing the vulnerability and interconnectedness of all environments, whether natural or man-made. 

The Gemini Effect invites the viewer to reflect on the coexistence of these contrasting elements and the delicate balance that sustains them.

The Gemini Effect 

The same emotions can indulge in different colour’s and shapes. Our core emotions could have same title but feels different for every other person. 

Trust  /  신뢰

World Geography Magazine:  Tanzania

A part of the the World Geography Magazine series reflecting on a trip to the Galapagos Islands

Word Geography Magazine: Galapagos Iguana

The painting that accompanies the video.  A reflection on a 3 day camping isolation trip to Anacapa Island

World Geography Magazine

Also known as Trial and tribulations:  A performative camping trip alone on one of the Channel Islands National Park,  Anapapa.

World Geography Magazine: Anacapa

Grande Iced Caramel Latte

As I go through life and my ever-changing relationship with God, the saints always seemed to still be around. My little ode to them.

St. Lucy

St. Valentine

I like to think that a quote from Greg Jarrell's piece, My Front Porch Cloister, describes the intent and theme of this project: “The goal, you might say, is to become more human.”

The rebirth society has been having during these recent years is not graceful. It is stubborn, sharp, and raw. With that, many young people have to analyze within themselves to ask the questions, "What makes me proud?", "What do I need to let go of?", "What do I need to welcome?".

These photographs represent that search within, showing the frustration, resistance, and uneasiness of that journey. We may not be ready, but society is moving without us as it is starting to look for redirection, a new start, a rebirth. Each of us is trying to find our path, occasionally stepping on the thorn vines that grow between the weeds.

Finally

I like to think that a quote from Greg Jarrell's piece, My Front Porch Cloister, describes the intent and theme of this project: “The goal, you might say, is to become more human.”

The rebirth society has been having during these recent years is not graceful. It is stubborn, sharp, and raw. With that, many young people have to analyze within themselves to ask the questions, "What makes me proud?", "What do I need to let go of?", "What do I need to welcome?".

These photographs represent that search within, showing the frustration, resistance, and uneasiness of that journey. We may not be ready, but society is moving without us as it is starting to look for redirection, a new start, a rebirth. Each of us is trying to find our path, occasionally stepping on the thorn vines that grow between the weeds


Breath

In my photo, a woman in a white dress is dancing on the sand. I was the one who took this photo on November 20, 2017. This photo made an impression on me and this is also a memory I will remember in my life.

If you want to use my work, please contact me through the information here: Full name: Louisa Victoria, Mailing address: New York, NY, United States, Phone: +1 (917) 728-2818 , Email: LouisaVictoria@protonmail.com. The work is owned by Louisa Victoria, so no one can copy my work without permission. All rights reserved by me

Woman in white dress dancing

Vintage images combined with layers of a changed reality. 

Altered Realities

thought_on paper, text art, 2019

life file, animated text art, 2021, in collaboration with Media Designer Andreas Vierheller (nft.victoriart.de)

wrong, text art, 2019

bright china, text art, 2017

text body (fiction), text art, 2018 

unbeschriebene Blätter, text art, 2017

injury, text art, 2015

hainbuche, text art, 2017

dein reich komme, deine villa geschehe, text art, 2017




Text Art _ language as material

This artwork is a reflection on a personal evolution, when through some suffers and pain in our lives, we’re feeling lost and broken, but out of this pain comes a new life, a new stronger personality, with an outstanding vision on its past and future, knowing its wishes and inspired by the new feeling of self-esteem and self-consciousness.

Evolution

This painting was created as one of the series "Strange People" and displays a creature which is absolutely self-centered and self-sufficient. It has closed eyes, but it speaks out the truth absolutely detached and unemotionally. It knows all the answers on all the questions, and the door and staircase in its head symbolises this process...

I Feel 

This painting was created during the lockdown and is describing the new times we're living in. The material world (symbolised with golden colour) is now playing a less important role, while connections with like-minded people (blue) as well as new social attitude (symbols on back sides) are taking more and more influence on us... White colour is the colour of purity as well the colour of masks we're wearing now. Red symbolises evolution in our minds as well as in the society, which have brought us all the lockdowns... 

The New Time Has Come

A beautiful peacock-like bird is living on a planet, where all plants, all animals are blue-coloured - except the sky, which is red. When this bird is having its walk through virgin forests of this planet, it sings its amazing songs, bringing prosperity and joy to all the creatures of the planet.

Red Sky

Big cities are full of life but of symbols and signs as well: just have a look at the map of the city, just watch the patterns of the streets, blinking traffic lights and illuminated windows - and you'll see the magic of a big city...

Urban Symbols 

This mixed media artwork is displaying a mighty man, who stands above the society and is playing with people and with the reality his games...

The Mighty 

This artwork is a reflection on cliches we're living in. Since the very childhood we're put into our parents', family's, schools', and overall society cliches. Those cliches are not always perfected and realised by humans, although they might be often a stumbling block on the way to the self-expression. The black threads around the mouth of the androgyne are the symbols of the cliches, and several knots on the threads display controversial nature of them. The rich inner world of a person is still kept inside, and the black flow on the background is the symbol of the information flow we're living in... 

Who Is The Next One?

Addiction means being too close to another person. So close, that you always know, what s/he does now. So close, that you feel, what s/he feels now. So close, as if you have that umbilical cord and many eyes to stay connected forever...

Addicted To You

This abstract artwork is a reflection on the informational flow we're living in: social media, TV, Internet, series, movies, newsmakers, blogs... The upper part of the painting describes our day-to-day life, with its black and white sides and some highlights, the lower part of the painting is our emotional life - pure  and vibrant. The white threads closing the surface of both parts are the informational flows we cannot control and we're sometimes lost in, forgetting about our daily issues and emotions; the one black thread in the chaos of white ones might be a way out of the white noise - not getting too involved, being more concentrated on the reality...  

The White Noise

This painting is a reflection on the human's psychology and perception of the reality: one is thinking that percepts the reality absolutely consciously and in a logical way, fully controlling the incoming information and processing it. Although, we have a mighty subconsciousness (which is symbolised by black threads), which we cannot control and through which we nevertheless get informations and which heavily influences our perception of the reality... 

Do You Really Think?

My work show healing through the destruction of the existed things and the building of a new basis.  I am exploring the topic of my inner disharmony, its causes, and its effects. I want to show that positive changes are possible with awareness and acceptance of true self.  Self-awareness develops with the destruction of the thinking stereotypes, frameworks, system rejection.

I look at the framework of human consciousness using stone structures. The stones are stable in time. And being comfortable in their stability, they do not react to what is happening around.
By breaking these imposed rules of this system, we can find our true desires inside and thus come to harmony.

Disharmony: who you are

Works

These artworks were part of my solo exhibition of square paintings. Sadly it was canceled due to COVID-19 pandemic and it will be left #unseen. Through the years I made a lot of square paintings that depict mostly nature, flowers and animals. Sizes are small (20x20cm in most cases), so anyone could make space for a new painting in their enviorment. My goal is to bring some positivity, color and happiness in people's everyday life.

Stay healthy!

#Unseen watercolors

“The Room” documents this stagnant state of my current situation, surrounded by discomfort, anxiety, and insomnia. In this work, I tend to explore the use of both illustration and photography by building a virtual room in desolation using individual photographic elements either from my camera or stock images.

The Room

“I am interested in touching gold by the eye. Luxury is the last bastion of the nerds. Glance of the gold calms down very effectively. Almost as well as gold on icons in past times. It blinded and created laid back atmosphere”.

Golden Circuits

This artwork is a part of my project Millennials Alchemy dedicated to struggles of Millennials generation: its inner fire and burning out. 

"Alchemy tradeth not with metals as ignorant vulgar think ... this philosophy is not of that kind which tendeth to vanity and depict but rather to profit and to edification inducing first the knowledge of God …"
Isaac Newton

Alchemy arose around the same time as Christianity; it spread widely in Europe in the Middle Ages. The Philosopher's stone was believed to be able to transform all metals into gold. 

The viewer of exhibition sees the artefacts of millennials' alchemy. Millennials are a generation born between the beginning of 1980s and early 2000s. The search for today's philosopher's stone fundamentally transformed the artist and led her to a simple, but powerful idea. That is, making the surrounding space more habitable is much better than nurturing own ego.

The artist refurbishes the concept of domesticity for contemporary life. Her wish to work with the image of home and to produce funсtional pieces comes from the supposition that the feeling of home for a global nomad is illusive and ghostly. Mentally, the basic human need for shelter has become as obsessive as goldmaking for alchemists.

The excessive market of goods and services, the travelling identity of labour migrants and the creative class, digitalization and progress - all these push to change standards of life. And there is no faith that patterns like modernisation or neoconservatism can soothe the stresses of modernity. 




What is a house of plenty for millennials? It can be mix of wealth and poverty, residence and mobility, of the material and the ephemeral. In cultural consumption there is no distinct border between vice and virtue, luxury and asceticism. We are overwhelmed by both the dark depth and the glancing surface of art, and particularly by fortunate alchemic experiments. The point of attraction is in anything that can pacify and bring us into the bright future.

The artist is self-ironic about being in love of gold and the handcrafted approach, where self-invented technologies are connected with painstaking job with no undo button. Should the crown of the international avantgarde be an obsession for contemporary artist? Is it a true duty of art to inflame and disturb? The Balance between magic and technology can be a millennial vision: a glossy matrix of uniform elements, made unique by inner colouring from alchemic experiments. In this neurotic time of religious wars, economic collapses and gender anxiety, the artist finds a way to unwind herself and others.




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