A Virtual Reality art project concept that blends the atmospheric memory of the American West with the symbolic echoes of ancient civilizations—two radically different yet culturally charged worlds. It is not an attempt to recreate history, nor is it a clear depiction of history. Instead, it constructs a speculative, immersive environment where myth and architecture act as fluid fragments rather than stable symbols. These elements are not meant to be decoded literally but felt like memories or dreams. Users are invited to wander, finding personal meaning through spatial and emotional cues. By using VR as a tool to craft time, memory, and presence, rather than merely simulated reality, CONTINUUM EXODUS reimagines our own reality as an artistic, narrative, and speculative act.
This project was developed independently in a solo effort as an MFA diploma project at the Academy of Art and Design in Wrocław, under the supervision of dr Karolina Cykowska-Halczuk.
This project was developed independently in a solo effort as an MFA diploma project at the Academy of Art and Design in Wrocław, under the supervision of dr Karolina Cykowska-Halczuk.
PART I: The Western Town
The Western Town is approximately 350 by 250 meters, totaling 87,500 square meters. It has 12 buildings, 2 bridges, and a single Mythic Structure. The diverse terrain is designed to shape how the space feels and functions. If developed as a game or fully functional VR experience, the town would serve as an open area for players to explore, potentially tied to a story that is in the conceptual phase. If envisioned as a film, it offers a setting rich with visual and symbolic tension, perfect for a story that could unfold from the whole work's concept. The out-of-place Mythic Structure is the key here; it disrupts the logic of and sparks curiosity, suggesting a deeper waiting to be revealed.
The Western Town is approximately 350 by 250 meters, totaling 87,500 square meters. It has 12 buildings, 2 bridges, and a single Mythic Structure. The diverse terrain is designed to shape how the space feels and functions. If developed as a game or fully functional VR experience, the town would serve as an open area for players to explore, potentially tied to a story that is in the conceptual phase. If envisioned as a film, it offers a setting rich with visual and symbolic tension, perfect for a story that could unfold from the whole work's concept. The out-of-place Mythic Structure is the key here; it disrupts the logic of and sparks curiosity, suggesting a deeper waiting to be revealed.
PART II: The Ancient Site
There is a change in tone and symbolism in this section of the project. The scenario shifts from the Western vernacular into a realm of ritual, memory, and lost time. Not to reconstruct any one civilization, but to abstractly represent the echoes of many, including Sumerian, Egyptian, Mesoamerican, and other vanished or fabricated nations, this landscape channels old architecture. The observer is drawn into something deeper, older, and more universal by this area, which functions as a spatial meditation. The megalithic structure was designed to emphasize natural lighting as a key element. When the sun hits at the right angle, it casts geometric shapes across the interior, reinforcing
the importance of symmetry, a concept deeply rooted in ancient cultures. I've always been drawn to symmetry myself, and I actively seek it out in both architecture and art, which that also one of the reasons I chose this approach.
There is a change in tone and symbolism in this section of the project. The scenario shifts from the Western vernacular into a realm of ritual, memory, and lost time. Not to reconstruct any one civilization, but to abstractly represent the echoes of many, including Sumerian, Egyptian, Mesoamerican, and other vanished or fabricated nations, this landscape channels old architecture. The observer is drawn into something deeper, older, and more universal by this area, which functions as a spatial meditation. The megalithic structure was designed to emphasize natural lighting as a key element. When the sun hits at the right angle, it casts geometric shapes across the interior, reinforcing
the importance of symmetry, a concept deeply rooted in ancient cultures. I've always been drawn to symmetry myself, and I actively seek it out in both architecture and art, which that also one of the reasons I chose this approach.
PART III: The Hallucinogenic Experience
The project's last part functions as a surreal experience, a transformed condition of perception brought about by the spatial and luminescent language. The environment starts to change as soon as the player or spectator steps within the Megalithic Site. The architecture becomes a catalyst rather than just a framework. A fictitious energy field, evoked by the interaction of sound, light, and geometry, causes a sensory rupture inside this hallowed center. The shift from grounded reality to psychedelic abstraction, from myth to mysticism, occurs at this point. The surroundings sway and change. Subtly, elements from the Megalithic Site and the Western Town resurface, warped, reframed, and altered. The project has a surreal continuity because familiar textures, structures, and symbols are echoed in strange ways. It serves as both an unraveling and a conclusion This is the last phase of The Rule of Three framework; it is a rebirth rather than a resolution, it's not designed for spectacle but to evoke. It acts as a passage to where perception collapses and the self is projected outward. By drawing on the logic of altered state of awareness, disruption, dissolution, and symbolic intensity, it induces a mythic break
from the norm through the visuals.
The project's last part functions as a surreal experience, a transformed condition of perception brought about by the spatial and luminescent language. The environment starts to change as soon as the player or spectator steps within the Megalithic Site. The architecture becomes a catalyst rather than just a framework. A fictitious energy field, evoked by the interaction of sound, light, and geometry, causes a sensory rupture inside this hallowed center. The shift from grounded reality to psychedelic abstraction, from myth to mysticism, occurs at this point. The surroundings sway and change. Subtly, elements from the Megalithic Site and the Western Town resurface, warped, reframed, and altered. The project has a surreal continuity because familiar textures, structures, and symbols are echoed in strange ways. It serves as both an unraveling and a conclusion This is the last phase of The Rule of Three framework; it is a rebirth rather than a resolution, it's not designed for spectacle but to evoke. It acts as a passage to where perception collapses and the self is projected outward. By drawing on the logic of altered state of awareness, disruption, dissolution, and symbolic intensity, it induces a mythic break
from the norm through the visuals.
