"In a post-internet haze defined by frenetic image saturation, our compulsion for algorithmic visual consumption blurs coherence in technological fervour. What proliferates, then, is known as apophenia—the human tendency to derive connections from seemingly disparate objects. As archives and collections once confined to physical spaces become increasingly digitized, what traces linger within this technologically mediated framework, which are reinforced or, instead, altogether rewritten?

Ukrainian-Canadian artist Ayla Dmyterko’s practice investigates these questions, syncretizing metaphor and figurative imagery to (re)identify objects cross-pollinated between her home province of Saskatchewan and her ancestral lands in Ukraine. Currently based in Glasgow, Scotland, Dmyterko highlights each item’s plurality, disintegrating material hierarchies through the appropriation of found objects and materials—such as wooden shelves and molten beeswax—as frames for her paintings."