Paradise Now is an umbrella title for a body of works exploring the convergence of AI-generated imagery, animation, and text.
Paradise Now (Volume 3), the work unfolds as a silent ritual — a technological apparition where fragments of science-fiction imagery collide with ancient theological structures.
The title carries a deliberate ambivalence: a cynical echo of Apocalypse Now, paired with an unresolved longing embedded in the phrase itself. Paradise is invoked not as promise, but as a condition deferred, simulated, or rehearsed.
The installation operates through two simultaneous projection systems.
At the front, a holographic LED screen presents a small human figure, draped in fabric, moving in a restrained, slow motion trance-like dance. The gestures oscillate between a virtual nomad familiar from popular science-fiction cinema (such as Star Wars) and a pre-modern wandering figure drawn from Jewish and Christian iconography. The image resists temporal anchoring, hovering between futurism and antiquity.
The figure — named Novery1 (a fusion of “no one” and “everyone”) — functions as an abstract consciousness avatar of the artist, suspended within a zone of meta-time. Rather than representing a character, Novery1 operates as a vessel for distributed identity, probing the unstable boundary between the natural and the supernatural, the embodied and the synthetic.
Behind it, a circular rear projection continuously generates shifting landscapes. These environments remain in constant motion, emphasizing impermanence, mutation, and loss of orientation. The source material originates from scans of coffee stains collected from an espresso machine — accidental, everyday residues transformed into raw visual data. Through AI-based processing, these organic traces evolve into fluid, endlessly morphing sequences, suggesting matter caught in perpetual transition.
Watch documentation Shown at the exhibition “Beyond” in a defunct flour mill in south Tel Aviv.
