Nico Pearleyes, Surreal Landscape, Acrylic on Fabriano Paper, 2025, Framed

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This acrylic painting on 400 g/m² Fabriano “Pittura” paper is part of a series of works created for Furtif magazine … Read more This acrylic painting on 400 g/m² Fabriano “Pittura” paper is part of a series of works created for Furtif magazine around the theme of “Lost Worlds.” In Synthetic World, Nico Pearleyes examines the fragile boundary between the imaginary and the real by constructing a landscape that feels simultaneously familiar and digitally estranged. The composition presents a simplified terrain bathed in an uncanny, almost radioactive light. Soft hills and meadows are traversed by linear markings that trace the ground as if generated by software, revealing an artificial logic beneath the natural surface. Above, elongated and distorted clouds drift across the sky, reinforcing the sensation of an atmosphere governed by simulation rather than weather. Abandoned Haussmannian buildings punctuate the scene, their historical presence contrasting with the synthetic environment that surrounds them. Pearleyes approaches the idea of a “lost world” as a reality emptied of organic continuity. Here, architecture and landscape appear disconnected, frozen within a system that imitates nature without fully inhabiting it. The absence of human figures intensifies this impression, suggesting a space designed to be observed rather than lived in. Reality becomes something rendered—an image constructed through layers of perception, memory, and projection. Drawing on a visual language shaped by Renaissance compositional order, Korean artistic traditions, skateboard culture, Post-Impressionist color sensibility, and Pop Surrealism, Pearleyes creates a world where artificiality is not hidden but exposed. Synthetic World questions whether imagination is now mediated by technological models, and whether the landscapes we inhabit—physically or mentally—are increasingly shaped by systems that simulate coherence rather than generate it organically. Dimensions: 25 x 35 cm unframed, 31.2 x 41.2 cm framed. Excellent condition. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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