Interregnum: Echoes of the In-Between is a collection of digital works that speak from the edge of collapse and the whisper of emergence. Inspired by Antonio Gramsci’s notion of the interregnum—a historical moment when the old world is dying and the new cannot yet be born—this project traces the visual poetics of a world in suspension.

Through bridges—architectural, symbolic, emotional—I explore the contradictions of our time: nationalism emptied of meaning, identities shaped by spectacle, histories overwritten by media. Each image is a visual palimpsest, blending vibrant color fields with fractured texts, institutional motifs, and reworked symbols of modernity.

The aesthetic is intentional dissonance:

Hyper-saturation mimics the overstimulation of digital life.

Fragmented typography echoes silenced voices and incomplete truths.

Bridges are rendered not as stable crossings, but as metaphors for instability, transition, and longing.

Text bleeds into image, demanding to be read, misread, or simply felt.

My process—visual and written—asks the viewer to linger in discomfort. These aren’t clean icons for clean futures. They are messy, layered, and alive. They carry echoes: of revolutions archived, futures imagined, and identities under reconstruction.

This collection is not about finality. It is about holding space:

—for memory that resists forgetting,

—for language that stutters in the face of erasure,

—for symbols that can still be salvaged and reimagined.

These are not NFT “drops.”

They are visual thresholds.

They are bridges still trembling from the weight of the world.

What is a visual palimpsest?

A palimpsest is originally a term from manuscript culture. It refers to a piece of parchment or writing material that has been written on, erased, and reused—often multiple times—so that traces of previous texts still linger beneath the surface of the current one. Over time, these ghost layers accumulate, creating a document where past and present coexist, visibly or invisibly.

So when we talk about your works as visual palimpsests, we mean that:

• Multiple layers of meaning, imagery, and text overlap and interact—sometimes clearly, sometimes ambiguously.
• Elements like quotes, graphic motifs, national symbols, and typography are not fully erased or foregrounded, but exist in tension, like histories that refuse to die quietly.
• The surface of your work doesn’t present a single message—it holds fragments: of ideologies, identities, myths, and emotions, each partially visible.
• Viewers are invited to decode, not consume. Your images aren’t flat or final—they’re traces, residues, and revisions. They feel like archives of feeling and critique, saturated with memory, loss, and the possibility of reconstruction.

In your pieces, the palimpsest becomes both a visual method and a political stance: you’re showing that no symbol, structure, or narrative is ever singular or permanent—everything is already overwritten, already haunted.