“It is as if Hans Rudi Giger’s dystopian, techno-gothic visions of the 1980s were brought to life in a post-digital sculptural nightmare, where every three-dimensional object has its own ghostly, psychotic “shadow,” while also suggesting a hyperrational, network-like “superego.” These extended entities may also correspond to the “geopolitics of the cloud”—those planetary-scale abstract data conglomerates formed through global infrastructures—which Koós Gábor deliberately marks, or rather enhances, by preserving the traces of 3D printing technology. Through the printed outputs of photometric scans that sometimes glitch or fragment into distorted mesh structures, he consciously elevates various post-digital glitches, breaks, and ruptures into an aesthetic form. The dialectical tension between reality and hyperreality, between material sculptural substance and immaterial digital code, is most clearly perceptible in references such as the revealing of polygonal mesh structures—surface, volume, and proportion traces that allude to point cloud–based photometric data-scanning techniques.

Koós Gábor’s exhibition is pervaded by a psychological depth that also plays a central role in Carl Gustav Jung’s theory of the shadow. According to Jung, the shadow is the unconscious, repressed, often dark aspect of the self, but it is also a necessary part of the complete personality. The shadow is not merely the repository of negative or rejected traits—it also harbors creative energy and the potential for psychic integration. In this sense, Koós’s post-digital sculptures are not simply technologically distorted self-portraits or representations of identity fragmentation, but rather complex visual metaphors that reveal the deep-psychological dimensions of the contemporary self.”

[From Zsolt Miklósvölgyi’s opening speech.]