We live submerged in a digital dream, a synthetic stream of calculated gestures and algorithmic emotion.
ATEX is the antidote—an eruption of biological truth against the smooth tyranny of the screen.
The act is the artwork.
Not the outcome, not the object.
The body moves, the hand releases, the mind dissolves.
Sometimes the result is ugly. Sometimes it’s glorious. It doesn’t matter.
The [painting] is not the point—the moment is.
To create is to remember what it feels like to be animal, spontaneous, sacred.
No concept. No commentary.
Only the raw, instinctive choreography of flesh and spirit.
ATEX is not a rejection of the technological.
It is a cry—a primal howl—for what technology cannot touch:
the breath,
the smell of paint,
the trembling hand,
the dance without audience.
This is not a rebellion.
This is a remembering.
A remembering of when expression wasn’t engineered,
when creation was not curated,
when art was a ceremony, not a product.
ATEX is the art of becoming.
Not to be seen, but to be felt.
Not to be sold, but to be survived.
-sys(cry)
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