Shadows of Time transports the viewers into a meticulously crafted virtual world. It’s centred around a majestic sculpture inspired by a two-headed mythical figure called Janus, symbolising time’s dual nature. It presides over a symbolic landscape, featuring a water stream that represents the passage of time, snow-capped mountains that echo the vastness of temporal expanse, and a mystical hourglass resting in a cave, marking time with its luminescent sand. This visual narrative oscillates between the two scenes, exploring the duality of our temporal experience – the internal, fluid chronometer of our minds juxtaposed against the external, measurable time that governs our physical world.
Amay Kataria
Amay Kataria is a Chicago-based new media artist working with performance, installation, and electronic systems. His practice investigates the relationships between technology, time, and ritual—exploring how digital infrastructures intersect with human emotion, memory, and collective experience.
Kataria often builds networked environments and interactive systems that transform ordinary technological processes into spaces of contemplation and play. His projects highlight the invisible forces shaping our lives—such as data flows, algorithms, or signal transmissions—and recast them into poetic, tangible encounters. Through this approach, he asks how technology can become a medium for intimacy, spirituality, and renewed forms of connection.
A central work in his practice, Infinity Mirror (2018–ongoing), is a durational performance-installation in which an autonomous networked system runs indefinitely, generating a continuous exchange between machine and environment. In other projects, Kataria has experimented with live coding, generative sound, and interactive installations to blur the lines between physical presence and digital space.
His work has been exhibited internationally at galleries, festivals, and experimental media platforms, and he continues to collaborate across disciplines, from sound and performance to engineering and design. Rooted in both technical inquiry and artistic speculation, Kataria’s practice proposes technology not as an end in itself, but as a living system—capable of revealing new rituals, vulnerabilities, and ways of being together.
