TASIMENOVA
Gallery
Pessimism
Gzhel Girls
Surveillance
Sypher
Surround
3D Design
Typography
Centquatre VI
Painting
Selected Works
Illustration
kamilatasimenova@gmail.com
@kuumiilaa
OILSPILL
Large-scale art installation proposal that transforms the Concorde Fountains into a visual commentary on the environmental devastation caused by oil spills. The fountain is an ode to maritime trade and grandeur of France, and the installation juxtaposes the original intention with the impacts of human usage of marine resources of today. The fountain, a popular tourist attraction and one of Paris’ centerpieces, is remade into a display of how harmful materials introduced by humans into marine ecosystems and bird populations can be. Birds and marine life models are concealed water filters, scattered in the fountain, and as canvases for the effects of crude oil in water. The water in the fountain itself will be turned black using biochar, a natural absorbent that will dye the water black. Visitors will be given the option to purchase a sample of bacteria to deposit into the fountain as an entertaining simulation, with proceeds going towards wildlife aid programs to rehabilitate marine ecosystems and birds. The installation aims to bring awareness to an ‘invisible’ environmental deterioration through an artistic presence, while showcasing methods of combating the negative human footprint. The reference to oil spills stands as a direct depiction of fossil fuel dependency and reckless waste management, as well as a visual metaphor for overall destruction of habitats.
Biochar
- Biochar - carbon-rich substance made from plant waste that resembles charcoal. A black powder, completely natural.
- Porous quality - absorb toxins and bind harmful compounds (oil-based residue)
Mylavarapu, R., Nair, V., & Morgan, K. (2019). An introduction to biochars and their uses in agriculture. University of Florida IFAS Extension.
Birds - Filtration Islands
- Natural water filters (duckweed, reeds, and mosses known to absorb nitrates and heavy metals)
- Wetlands - water purification technique.
- Fabricated to look like oil-slicked birds and marine life
Balke, Klaus-Dieter, and Yan Zhu. “Natural water purification and water management by artificial groundwater recharge.” Journal of Zhejiang University. Science. B vol. 9,3 (2008): 221-6. doi:10.1631/jzus.B0710635
Bioremediation
- Bioremediation science has isolated strains of bacteria that consume petroleum (Alcanivorax borkumensis), (Helmholtz Centre for Infection Research, Germany)
- Visitors can purchase a sample of bacteria to deposit into the fountain as an entertaining stimulation, with proceeds going towards wildlife aid programs to rehabilitate marine ecosystems and birds
Cordis; Peter N. Golyshin, et al. Timmis, Genome sequence completed of Alcanivorax borkumensis, a hydrocarbon-degrading bacterium that plays a global role in oil removal from marine systems, Journal of Biotechnology, Volume 106, Issues 2–3, 2003, Pages 215-220, ISSN 0168-1656, https://doi.org/10.1016/j.jbiotec.2003.07.013.
SOFT TARGET
A short desktop experience that places the user in an active war zone environment, animations of the soldiers and vehicles around them moving in extreme slow motion. The user remains in a stationary first-person view and interacts with the environment by tapping on models to trigger what is a material switcher script. Upon interaction, an Instagram-like ‘like’ icon appears, and the tapped model's material shader switches from the previously realistic textures to a brightly colored, patchwork-styled material. The user is able to interact with all the items included in the scene, from the soldiers to the sky. The desired result is that in which the user has transformed the entire scene into a surreal environment.
An immersive VR experience that places the user at the center of an active war zone. Users enter the experience as stationary viewers who can rotate their head and tap on in-scene objects with a controller. Tapping triggers a transformation: realistic military elements such as tanks, debris, and soldiers shift to colorful, surreal versions of themselves. A floating Instagram-style heart appears with each interaction, reinforcing the experience's commentary on the intersection of violence, play, and social media. The scene continuously loops with new waves of animated tanks and soldiers moving in ultra-slow motion until the user pauses or exits the experience.
This project explores the convergence of digital aesthetics, war imagery, and social media behavior through an immersive, interactive VR experience. As the user gradually retextures the entire battlefield, they leave behind a landscape that has been aesthetically ‘liked’ into absurdity - a synthetic playground shaped by choice and visual pleasure. This work does not offer a resolution or critique in the traditional sense. Rather, it invites users to confront their own habits of engagement with violent imagery online, especially as filtered through the mechanisms of social media. The act of 'liking' becomes an aesthetic and moral gesture. The slow-motion visuals enforce contemplation, while the surreal transformation underscores the dissonance between the real and the performative.