In Simulation Hypothesis, Zhestkov equally seeks inspiration in pre-historic cultures of cave art and ancient bas-reliefs. He plays with a visuality that precedes written language, from a time in which early humans used clay to make vessels and figurines.

The artist uses the inspiration from ancient forms of art and transforms it into digital sculptures using simulations and algorithms based on principles of nature.

Zhestkov’s second large-scale projection Dimensional Dreamscapes evokes the emergence of complex biological structures. In particular, it reflects the transformation of humanity, tracing our journey from cosmic origins to becoming active agents of creation.

It suggests that humanity’s desire to create, build, and alter the world is a continuation of primary cosmic energy, presenting the creative process as a perpetual dance between humans and the elements that were spun into existence with the universe’s inception.

The themes of the two projection artworks are continued in four sculptural pieces which bring the transcendental processes of creation to human scale. With digital and physical combined, the sculptures become portals into the world of Zhestkov embodying artist's concept of screen as a membrane that separates the two worlds but connects them at the same time, allowing to look into the depths of unknown.