A goblin, an elf, a witch, a tree, seven archetypal characters endlessly take turns rolling a massive D100 die. Drawn from the aesthetics of fantasy and tabletop gaming, these figures inhabit a loop between chance and compulsion, ritual and glitch. The die becomes a symbol of uncertain agency: the characters throw it, yet its outcomes remain elusive, much like our own interactions with platforms, systems, and digital selves.

Pome uses performance, motion capture, and animation to explore how identity is constructed through repetition, in games and everyday life. “We all shift between roles,” he says. “Who you are with your friends is not who you are with your family, or in a performance, or online. These aren’t deceptions, they’re versions of yourself”. So then, are our avatars not doubles, but simply other selves, caught in different loops?

Benjamin Pompe moves fluently between the digital and physical, often blending the aesthetics of internet culture with historical references, myths, and fantasy. Based in the Netherlands, his work takes form through printing, video installations, performances, by reassembling them into worlds that feel simultaneously alien and oddly familiar.

The work: Hundreds of Tosses and Tumbles (2025),

Name 2 minute 3D animation loop
Technical Information: Made using downloaded animation loops, motion capture suit data and 3D hand animation. The characters are made using the Zbrush sculpting tool, Blender sculpting tool, 3D scanning (Heges 3D LIDAR scanner) and AI Luma Genie 3D generator. Made and realised with the use of various 3D software including Blender, Cinema 4D and Unity. 

Character animation made in collaboration with William Knies

Instagram: @benjaminpompe

https://benjaminpompe.com

Benjamin Pompe is part of the group exhibition Doppelgänger, curated by Yev Kravt. 

Echoes of Dystopia reflects the decaying soul of the internet—a seductive mirror of our descent into dopamine-fueled escapism. Appearing as an angelic, biomechanical being, the sculpture moves in a hypnotic dance, blurring the line between organic life and artificial simulation. This piece is a rendered video from a real-time audio-reactive visualizer.

(Modelled with Blender, Animated in Unreal Engine as a real-time audio-reactive visualizer.)

carmillasumantry.com

”Space Aqua Utopia” 2025 is a new video series exploring futuristic, utopian landscapes where nature and technology merge. Created using 3D microscopic imagery of insects, tardigrades, and snakes captured at the Oulu Biocenter, the project imagines hybrid environments that echo the speculative world  Using the scientific software Imaris—a powerful tool for 3D and 4D visualization and analysis of microscopic data—I transformed biological structures into surreal digital terrains. These otherworldly ecosystems invite viewers to reflect on biodiversity, interspecies coexistence, and the aesthetic potential of scientific data.  

(Videos with sound)

www.christelle-mas.com

Batang Buo is a narrative about the homeland and the connection between memory and connection. In the era of technology, memory became faded and somehow artificial. 

This series utilizes hyper-reality filters and 3D sculpting of the photographs, providing a graphic testament to the prominent role technology plays in our lives, to the point where it morphs our perception of the world around us. The juxtaposition of the unaltered landscape with layers of artificiality underscores our increasing dependence on digital technology.

(Digital collage and image manipulation, Audio poetry with original narration)

www.ekosaputra.it

A hand hovers. A screen responds. In Soft Touch, Eva Papamargariti explores the intimate language of the interface, the choreography of fingers against glass, of emotion rendered tactile through touch. When we are communicating through our avatars, dispatched through digital profiles, how does this intimacy travel? And how is it received? 

Set within the folds of a digital dreamscape, Soft Touch considers how a caress might be coded, compressed, and still arrive intact. Fragments of philosophy and pop lyrics, Plato, Derrida, Frank Ocean, float around the body’s desire to reach, to feel, to be felt. Touch becomes both performative and displaced: sometimes directed at a lover, sometimes looping back to the device itself. The screen is no longer a window. It is a skin.

Papamargariti’s work moves fluidly between synthetic landscapes and sculptural emotion, where avatars breathe and pixels pulse with affect. Her practice delves into the merging and dissolving of our surroundings with the virtual, the mundane and the miraculous folding into each other, where acts of longing, identity, and desire morph without ever losing their grip. A sticky note appears: Why do I look different on my phone than in my house mirror?

Eva Papamargariti is a visual artist, working across 3D animation, installation, sculpture, and sound. Her practice navigates simultaneity and soft collisions, between digital and physical, intimate and artificial. 

The Work: Soft Touch (2023)

Website: evapapamargariti.com

Instagram: @evapapamargariti

Technical info: Single-channel video, 6’33”, sound

Eva Papamargariti is part of the group exhibition Doppelgänger, curated by Yev Kravt. 

Santa Millagrosa, avatar turned saint. Conceived within the pixelated dreams of Second Life, Millagrosa was born as a digital counterfigure, a character who could do everything and anything. She helped others with the ease of a click, a swipe, a beep of the credit card. A facilitator in a fragmented digital world.

Millagrosa emerged from Fiteiro Cultural, Fabiana de Barros’s long-running mobile project: a culture kiosk without a fixed address, setting up in streets, plazas, festivals, and institutions from Brazil to Switzerland and eventually, the virtual. Between 2007 and 2012, the kiosk became a hub of informal exchange, hosting conversations, cinema, and performances in Second Life. Santa Milla is one of its spectral offspring: a patroness of porous borders and networked displacement.

Once the kiosk fell silent in Second Life, Santa Milla evolved into a saint. “In the church, saints are often ‘ordinary’ people who have done extraordinary good,” de Barros notes. “So too, in the digital: we can sanctify our avatars, for memory, for care, for the traces of good they leave behind. Perhaps what we need now is a bit of spiritual help, a guide for the ghostly terrain we inhabit daily.”

For Doppelgänger, Santa Millagrosa reappears, a fictional saint for the digitally disoriented. She greets visitors at the exhibition’s entrance with a soft invocation:

“O glorious Saint Millagrosa, by the light of your holy candle, illuminate my virtual path, my memories, and my files.”

This prayer becomes a ritual for navigating corrupted folders and broken hyperlinks. She doesn’t promise miracles, only a form of grace within the system.

“Guide me to the sanctity of open source and data protection, to the safe haven of eternal happiness in the grace of digital sobriety.”

Fabiana de Barros is a Swiss artist born in Brazil, working between Geneva, Switzerland and Sao Paulo, Brazil. De Barros creates interventions and interactive performances to establish an individual relationship with the viewer in the public space.

The work: Santa Millagrosa
Technical Details: Mixed-media digital sculpture, video, and prayer card

Instagram: @fabianadebarros

https://fabmic.ch

Fabiana de Barros is part of the group exhibition Doppelgänger, curated by Yev Kravt.

In virtual space, scale often seduces. But for Faysal Mroueh, the portal lies in the detail. Twin Salamanders presents five pieces of digital jewellery, earrings, a choker, a collier, and a sci-fi butt plug, arranged as archaeological objects inside a virtual display case. Designed for a speculative RPG-inspired world, these fragments blend medieval gaming tropes with queer ornamentation and mythological inference.

At the center slithers a recurring form: the twin salamanders, drawn from gaming lore and myth, creatures said to be immune to fire, the relics granting the wearer the ability of fire resistance within the game’s logic.

These hybrid objects act as relics and mechanics, charm and commentary, evoking both protection and desire. Rather than constructing a vast open world, Mroueh zooms in, inviting us to linger in microcosmic terrain, where identity, power, and digital intimacy are encoded in precise, sensual forms.

Faysal Mroueh is a digital artist based in Amsterdam, working with game engines, experimental world-building, and the affective textures of virtual design.

The work: Twin Salamanders (2025)

Technical details: 3D game asset

Instagram: @wheretherehasbeen

Faysal Mroueh is part of the group exhibition Doppelgänger, curated by Yev Kravt.

Instagram: @wheretherehasbeen

How HI-GH is the galaxy anyway?

Can things exist physically and digitally in multiple positions of the reality spectrum at once? The answer to both is yes.

https://flyar.fi/high-af for a web and mobile AR-version. 

(Physical sculpture by multidisciplinary artist Sheikki, brought into digital life by flyAR Augmented Reality Studio. Manually modeled, textured, rigged and animated based on reference imagery and photogrammetry. Format: fbx.)

www.flyar.fi

Tri-eyed, Sun and Moon in palms, watching the three realms.

(Custom Unity based production)

keyartist.wixsite.com/keya

”HYENAZ: ENTANGLEMENT” is a VR experience that invites participants to explore their own entanglements with objects, landscapes, and extractive processes, with HYENAZ as their guide. In a fantastical environment—immersed in soundscapes and textures recorded through HYENAZ’s slow-movement research project in sites of environmental extraction—objects reveal their animacy, and participants are invited to engage in speculative storytelling to deepen their understanding of interrelationality.

(Multichannel spatial audio, series of videos, interactive elements)

www.hyenaz.com

What is the truth beyond the spectacle? “The Last Broadcast” is an interactive, text-based narrative that explores propaganda, myth-making, and the role of the metaverse in both.

THE LAST BROADCAST (web-version)

(Branching narrative built on Inklewriter software.)

www.Jamie-McGhee.com

I studied design between 2007 and 2015 at various institutions and created dozens of different concepts, products, and artworks. From these school projects, I have several 3D files left, filling up my hard drives. 

By combining my old 3D files, I have created various characters called “Recycled 3D Monsters” that wander through the spaces of the Virtual Art House. Each character has been created based on the available materials, reflecting the moods of the moments they were made.

(3D illustrations)

Semiotics of spacelessness by Kathryn Carter orients us in our imaginations as we chart the synthesised terrain of the Virtual Art House. Her words, by virtue of their mortality, invite observers to expand the incubation of their own ideas and to return to the corporeality of their physical vessels as they traverse the digital realm. With poetry, we may transform the phantom of the virtual with palpable expression. 

Intrigued by the nascent semiology of intangible worlds, Carter presents thirty-three poems created as the chrysalises from which the reader’s own wings may emerge. What becomes of embodied humans who are disembodied within the simulacra of coded landscapes? There does not have to be one answer, but in alignment with your intuition your metamorphosis will be mapped by your own poetry.

(Words) 

www.kathryn-carter.com

For Doppelgänger, Kévin Bray brings his hybrid, media-fluid practice into the virtual realm, blurring the borders between cinema, illustration, sculpture, sound, and code. His work explores how language, images, and narratives are constructed, deconstructed, and reassembled across platforms and epochs. Moving between past and present techniques, Bray retools communication strategies to reveal the fiction embedded in reality and the realities embedded in our fictions.

His approach challenges the authority of tools, pushing them toward moments of crisis. By actively shifting his attitude throughout each phase of production, Bray treats making as a political gesture a resistance to dogmatic cycles that shape not only what we create, but how we perceive. “The tool,” in his work, “is never neutral.”

Bray emphasizes the act of collage rather than montage, revealing the layered anatomy of image construction. At the edge of transparency and concealment, his work stages a tension between illusion and exposure a system always in motion. Anima, animated, animal, animism, the work resists stillness, always shape-shifting, always in translation.

Instagram: @bray_kevin 

https://kevinbray.notion.site

Technical Information: (to be added)

Kévin Bray is part of the group exhibition Doppelgänger, curated by Yev Kravt.

ANIMATOR – LIVE PERFORMANCE
Animator showcases how much life and personality is radiating even from the simplest signal of existence – a moving dot that leaves a trace. What happens when a dot meets another? 

(performance)

ANIMATOR – THE TOOL
Life is motion. You will never stop moving as long as you breathe. Animator – The Tool calls you to explore the simplest signal of existence and become the animator yourself! 

(interactive play)

https://www.instagram.com/springplay_studio/

9000 IN METAVERSE is a multidisciplinary art exhibition by photographer-filmmaker-architect Vesa Loikas & Choreographer-dancer Maria Nurmela.

9000 IN METAVERSE explores the changing meanings of humanism within a posthumanist framework.

(Three-dimensional sculptures, video with soundtrack, fine art photography and text)

https://fainomenon.net/

This work is part of the group exhibition Digital (Dis)Embodiments curated by Shashank Satish

A portal is never just a door. In PORTAL², Maria Touloupou created a spatial threshold that initiates transformation and reflection. Conceived as a twin-looped passage, the structure recalls the yin-yang, opposite forces that turn in orbit but never fully align. Visitors must pass through this recursive form to enter the exhibition Doppelgänger.

Touloupou plays with the tension between versions of ourselves that aren’t quite the same as in real life. “It’s about stepping into your digital double,” she says, “the version of you that lives online, or in code.”

Trained as an architect and fluent in digital myth-making, Touloupou moves between structural design and emotional cartography. Her work explores how form can be both symbolic and sentient, a space that senses as much as it shelters.

PORTAL² floats in a world without weight. “I wanted to create something anchoring,” Touloupou notes, “even in a space without physical limits.” Rather than overwhelm, the work invites intention: an inner double-click before entry. With so many tools these days, AI included, it’s easy to generate spectacle, dopamine clickbait: shiny, impressive forms that move fast but don’t always mean much.

Instead, PORTAL² slows the moment down. Its use of sacred geometry gestures toward something ancestral, a visual language that predates the digital but now reemerges through it. A place not of arrival, but of becoming.

The work: PORTAL², 2025
Technical information: Medium: 3D architectural model, digital twin environment; Designed in: Autodesk Maya; Rendering Workflow: Unreal Engine 5 / optimized for Unity/WebGL.

Instagram: @maria_toul. 

https://www.untltd.studio

Maria Touloupou is part of the group exhibition Doppelgänger, curated by Yev Kravt.

The Flipping Room: Micro-Stories Unfold
In this immersive virtual exhibition, Canadian artist Marie Samuel Levasseur presents over a hundred zines and small artbooks – many of their own, a hundred created through collective workshops, a zine from the Fanzinothèque collection (France) and a selection by fellow artists from Canada, the U.S., Spain, and Germany.

Each zine is revealed through a quiet, intimate gesture: the turning of its pages, one by one, for someone else to see. Inspired by the artist’s experience as a caregiver, this simple act becomes a form of care – a way to share stories gently, attentively.

Through these small books and the many hands that helped create them, The Flipping Room offers a space of connection, reflection, and quiet resistance, where micro-narratives unfold across borders and screens.

(A virtual video installation composed of multiple screens, each triggering a video of zines being flipped page by page.)

http://mariesamuel.com/en

Nature reclaims the digital world. Using their catalogue of textures and forms collected from fieldwork in temperate Celtic rainforests of Wales and tropical montane cloud forests of the Philippines, Curtis and Mica bring pockets of mossy forests and fern-laden woodlands to the VAH Building.
 
(3D objects of forest elements to be spread out in spaces within the Virtual Art House building)
 

https://sunny-loving-forest.glitch.me

A decaying wall rises in a dreamscape. Flowers bloom unnaturally. Statues fragment, hover, and mutate. In We Met – Love Death And Meta, Michalis Charalambous constructs a virtual environment where memory, grief, and digital resurrection converge. It is an emotional terrain shaped by absence, and the longing to make absence feel again.

The work drifts between archaeological reverie and speculative afterlife. Hybrid beings gather: horned deities, damaged objects, vegetal ghosts. The graffiti scrawled across the central ruin speaks to lost connections and half-forgotten languages. “My doubles,” Charalambous notes, “are not mirrors, they are echoes. Ghosts in the algorithm. Versions of the self that persist in code, even after we log off.”

Trained in sculpture but operating in extended reality, Charalambous uses VR and AI not to mourn. His materials are spectral: scanned relics, 3D flowers, digital clay. Each carries emotional residue. We Met – Love Death And Meta speculates on what happens after touch, after presence, after death itself, when memory becomes architecture, and intimacy is reconstructed through simulation.

At its core, this work asks a quiet, radical question: Can avatars remember for us? Can they grieve?

Michalis Charalambous is a visual artist working across ceramic and digital media. His practice explores memory, identity, and the metaphysics of space.

The work: We Met – Love Death And Meta (2024–Ongoing)

Technical information: Digital sculptures, Scanned Objects and landscape, VR installation, 2024

Digital Scanned Graffiti –  Artist SOAS

3D scans antiquities objects courtesy of the Department of Antiquities, Republic of Cyprus.

Instagram: @michalis_charalambous_

Michalis Charalambous is part of the group exhibition Doppelgänger, curated by Yev Kravt.

Bodies overflow. Faces smear. Breasts multiply. In Mutant Madonnas, Mike Pelletier invites us into a loop of reverence and rupture, where serenity slips into chaos, and classical perfection dissolves into algorithmic excess.

Using open-source AI models and Renaissance-era compositions as his prompt-image source, Pelletier reanimates visual memory through a process of digital miscommunication. What begins as a “resin sculpture of a woman” becomes a glitching saint with five arms, three mouths, and no clear origin. Sacred geometry is warped by code. 

Pelletier’s figures are neither avatars nor archetypes, they are collapsed simulations, struggling to hold form. Born of repetition, filtered through baroque pattern and machine vision, they carry the traces of devotion but none of its clarity. As the artist explains, “AI doesn’t understand symbolism; it understands pattern. These images are mutations, not metaphors.”

For over a decade, Pelletier has worked at the intersection of human form and technological failure. In Mutant Madonnas, he relinquishes control, allowing the machine to lead, hallucinate, even deform. The result is a series of digital relics, eerily alive, unsettlingly divine, caught in a feedback loop between worship and decay.

The doppelgänger here is a distortion, a surplus, a scream beneath the surface. If these icons could speak, they might not say anything at all. Or perhaps, as Pelletier half-jokes, they’d whisper: Kill me.

Mike Pelletier is a Canadian-born artist based in the Netherlands. His work spans animation, digital performance, sculpture, and generative systems. He explores the poetics of control, mutation, and embodiment in an increasingly machinic world.

The work: Mutant Madonnas

Technical Information: AI Generated Digital Portraits with AI Generated depth and normal maps. 

Instagram: @mikepelletiernl

https://mikepelletier.net

Mike Pelletier is part of the group exhibition Doppelgänger, curated by Yev Kravt.

Nadi is a collective of generative new-media sculptures, translating movement in Yoga to a time-freeze entity.

Through the sculptures, I am investigating the rhythm of the body and the breath, the undulations in movement and the prana, which leads to an imagination of continuity. The form unfurls an intrinsic quality of calmness of a biological being with an embodiment of movement and breath, in the form’s convolutions.

The expansion and contraction of Nadi form preserves multilayered systems both in temporal and spatial characteristics, and the geometry of the body’s anatomy lends value to animalistic attributes. This emergence of the Body’s rhythm metamorphoses from a formless existence to an embodied self, revealing symmetry in the recursive patterns of the flow.

https://timeblur.io

(Artificial Intelligence, Creative Coding, Laser cutting Programmer: Mallikarjun M)

This work is part of the group exhibition Digital (Dis)Embodiments curated by Shashank Satish

The UFÅ VAH 2025 campaign humorously proposes making Turku the UFO capital of the world. This retro-futuristic artwork blends sci-fi aesthetics with contemporary digital illustrations, reimagining a UFO visitation as a symbolic encounter with home, locality, and imagination.

(Various digital formats, workshops, AI-integrations)

Artist

In the project Concert, fragments of textures and sounds recreate the unique visual and auditory qualities of two locations. Direct observation and documentation are crucial parts of my process, and I use audio field recordings and 3D scanning to record and archive the everyday experience of specific places

In the VR installations, viewers can step into a concert capturing natural sounds and the sounds from human activity.  

Concert-Intertidal documents a section of shoreline in Boundary Bay, an important stop for migrating birds in the Pacific Northwest, BC Canada, on the traditional and unceded territory of the Coast Salish Peoples. The installation Concert-Garden captures fragments of the natural textures and sounds in Padula, Vallo di Diano, Italy

(Sound field recordings on location, and 3D scans. The audio and 3D elements are brought together in Unity)

https://pmajanoart.com

HS is an interactive metaverse installation that visualizes and sonifies cultural, biological, and informational networks through AI, quantum algorithms, and real-time co-creation.

(Unity scripts and assets, 
machine learning for data processing
agents)

https://robertlisek.com

In an increasingly digital Universe, where individual identities are becoming ever more indistinguishable, what role does the individual play in his fictitious uniqueness?

This work seeks to explore the theme of the depersonalization within the virtual world through a particulate graphic component that gradually dissolves, only to reassemble into the essence of the physical body belonging to the tangible everyday dimension.

(Digital art / Live Performance)

www.simonemartinotta.com

Goldfish robot in bamboo sea is an immersive audiovisual experience that questions the ecology of life and non-life in the society of digital technology, the last nostalgia before entering the metaverse. The audience will transform into a robot goldfish, carried by the music of the Chinese harp Guzheng, and will swim in the sea of bamboo generated from ancient Chinese Shanshui drawings by AI deepth recognition. Yellow Wasabi will play Guzheng with an atypical sound treatment in MAX/Msp, distorting the timbral and rhythmic structure of the immersive sound continuum. The audience will promenade in this virtual garden and will feel the traditional esthetic of one step on view.

(Unity for computer project)

https://yellowwasabi.net