Maxim Zhestkov is Russian visual artist and founder of Zhestkove Studio. He works on the intersection of art, design and computer graphic and developing new forms of moving images.
Zhestkove Studio is using computer simulations to decipher principles of the nature in energy transmission through millions of elements.
Supernova is an experimental 4K art film directed and designed by Maxim Zhestkov and made in Zhestkov. Studio Everything around and inside us was conceived in a huge explosion of a star billions of years ago… and, probably, recycled from other matrices myriad times.
In this eternal carousel of matter, particles gather, form complicated structures and then burst into all directions fusing atoms together and producing new elements and points of view, new colours and patterns of perception.
Explosions could be perceived as a destructive force and the process of tearing previously formed matter apart and, therefore, could have negative
connotations; however, fundamentally, only the process of breaking familiar structures and rearranging them into new, more sophisticated shapes could kindle new meanings and ideas and be the main creative force forming the future.
In the art film, Zhestkov made computer simulations with millions of particles to explore the behaviour and the beauty of the creative force of destruction. The art film was initiated as the titles sequence for FITC 2019 / Amsterdam.
Computations is an experimental art film directed and designed by Maxim Zhestkov at Zhestkov Studio. It speculates a distant future when computation moves from the opaque ‘black boxes’ of our laptops and devices out into the world.
Zhestkov boldly envisions lush dynamic systems, which he compellingly describes as “floating networks of small transistors—some kind of strange computing organism.” Evoking both supercomputers and synaptic structures, the shapeshifting forms are serene and enigmatic.
The complex systems at the heart of Computations sway and undulate in perfect synchronization. Comprised of billions of particles, they are more than the sum of their parts—they are thinking machines that visualize, calculate, and communicate through coordinated movement and coloured illumination.
Elements rise and fall, clusters lock into place, and there is an underlying sense of order governing the ornate spatial choreography. The forms are artfully embedded in architecture, perform in space, and demonstrate how each tiny element contributes to the construction of an elegant, emergent
This new work follows in the experimental tradition of Zhestkov’s recent art films Optics , Layers , and Volumes , which expertly explore 3D modeling software’s granular control over light, colour, form, and motion.
Collectively these imaginative films have received millions of views on Vimeo and Instagram, and their pristine aesthetic and execution has been lauded by tastemaking publications including WIRED , Juxtapoz , and iGNANT . In addition to Zhestkov’s artistic work, Zhestkov Studio has done commercial design work for clients including Adobe, Google, Microsoft, PlayStation, and Nike.
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