Layers is an artwork dedicated to the exploration of the relationship between the inner and the outer sides of objects.

Art film, 2018


Featured in the film are impenetrable black monoliths that gradually reveal their true nature. Stiff and distant at first sight, monuments turn out to be vivid and intriguing as they get cut through by invisible shapes.

Out of black forms appear contrasting blue, purple, green, and yellow layers all of a sudden—they form a dynamic structure, emerging from inside and vanishing from sight again.

Cut with extreme preciseness, internal shapes seem to spread over monuments' surfaces, and through this interference, the sculptures transcend their initial state. On the intersections of internal and external, new forms appear as the objects of the artist's study open to the wave of energy from the outside and transform into disparately intricate forms.

With this newly revealed system of connections and influences, monuments seem to acquire new dimensions and become portals into parallel universes, hypnotizing and full of energy and potential.

One by one, Zhestkov dissects bodies of different shapes with the same deep blue abyss inside. As the last sculpture, the sphere, opens out, a hidden nucleus inside of it comes to light, as a symbol of the evolvement that these monuments undergo.

The spherical shape does not just conceal an obscure element: it exists in a continuous transformation, as its layers alter their color, dynamically modifying themselves. Spheres hold a special place in Zhestkov's body of work as the most balanced shape and a universal object that represents a shape purified from additional meanings, so its final majestic appearance is far from accidental.

Layers stands out from the rest of Maxim's works, as its narrative is built not around the interactions of systems of particles but rather around large solid monuments.

With this new realm of his artistic practice, Zhestkov explores the theme of interconnectedness and goes further in his exploration of universal forces and laws of nature. Finding imperceptible complexity in the habitual reality, the artist expands his continuum of curiosity by looking behind the familiar patterns of perception and trying to see things without the unconsciously inherited labels.

Selected Screenings:
Times Square
New York, USA, 2019
Shanghai, China, 2019
FILE Festival São Paulo, Brazil, 2019
For more info:
Maxim Zhestkov



Simulation Hypothesis

First gallery solo show finding elements of universe creation in human culture and art.

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Modules is a VR art experience, where architecture, sculpture, film, and music blend together to immerse viewers into Zhestkov's world.

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Connecting particles into mighty flows, Waves is an examination of shifts of energy in complicated systems that lead to the inevitable transformation.

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Artificial Organisms

A combination of biological symmetry and impeccable digital matter, they are a representation of budding artificial intelligence.

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PlayStation 5

Two bespoke artworks created for the global launch of PlayStation 5 based on Zhestkov's projects — Layers and Computations, which became embodiments of the soul of the new console.

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BMW i4

An exploration of the primary physical forces behind the car and a research of forces that underlie our existence in the universe.

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Computations speculates a future when computation moves from the opaque ‘black boxes’ of our laptops and devices out into the world.

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Layers is an artwork dedicated to the exploration of the relationship between the inner and the outer sides of objects.

View the project


An abstract representation of transformation and resilience, Volumes is an observation of digital sculptures consisting of millions of spherical particles.

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Exploration of the idea that every system and process can be broken down into elementary blocks.

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Maxim's diploma project, Modul is centred around a comprehensive exploration of the principles of a design language.

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