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Silver Armour
crocodilePOWER
31 October — 29 November 2026
Triumph Gallery
Triumph Gallery
Triumph Gallery presents Silver Armor, a solo exhibition by the artist duo crocodilePOWER. In their new project, the artists explore the body and sensibility of the human of a new era, who lives between physical and technological reality. This figure is embodied by the project's central protagonist, a knight in silver armor whose form is no
longer stable.
longer stable.
The title alludes to one of silver's principal mystical properties: reflection. People today live in a state of near-constant self-reflection, while the digital environment is becoming a system of mirrors that throws our own words, desires, and fears back at us.
Sitting by the river
2025
Oil on vanvas
120 × 160 cm
2025
Oil on vanvas
120 × 160 cm
Sitting by the river
2025
Oil on vanvas
120 × 160 cm
2025
Oil on vanvas
120 × 160 cm
The title alludes to one of silver's principal mystical properties: reflection. People today live in a state of near-constant self-reflection, while the digital environment is becoming a system of mirrors that throws our own words, desires, and fears back at us.
The knight always inhabits an in-between space: between preparation and action, body and role, vulnerability and protection, the old world and the new one he has yet to enter. His path is defined less by reaching a goal than by the need to keep moving amid uncertainty, and his armor is an outer environment that is inseparable from him and gives him shape. Through a series of paintings, sculptures, and VR video, the artists offer their own vision of how the human body is being transformed by an ever-accelerating technological environment.
Mundus vult decipi, ergo decipiatur / The world wants to be decieved, so let it be decieved
2021
Mixed media, neon, fiberglass, feathers, wood, and wax
115 × 67 × 50 cm
2021
Mixed media, neon, fiberglass, feathers, wood, and wax
115 × 67 × 50 cm
Mundus vult decipi, ergo decipiatur / The world wants to be decieved, so let it be decieved
2021
Mixed media, neon, fiberglass, feathers, wood, and wax
115 × 67 × 50 cm
2021
Mixed media, neon, fiberglass, feathers, wood, and wax
115 × 67 × 50 cm
The knight always inhabits an in-between space: between preparation and action, body and role, vulnerability and protection, the old world and the new one he has yet to enter. His path is defined less by reaching a goal than by the need to keep moving amid uncertainty, and his armor is an outer environment that is inseparable from him and gives him shape. Through a series of paintings, sculptures, and VR video, the artists offer their own vision of how the human body is being transformed by an ever-accelerating technological environment.
The exhibition is conceived as a laboratory for developing forms, where fragments of a face, a body, or a gesture survive, yet their combinations remain open to many readings. The paintings and sculptures freeze a single state of an object in perpetual disintegration, while the video lets these transformations continue over time, much as the body and its environment draw closer, support and hold each other, and merge.
The oak king. Fall
2021
Oil on canvas
90 × 120 cm
2021
Oil on canvas
90 × 120 cm
The oak king. Fall
2021
Oil on canvas
90 × 120 cm
2021
Oil on canvas
90 × 120 cm
The exhibition is conceived as a laboratory for developing forms, where fragments of a face, a body, or a gesture survive, yet their combinations remain open to many readings. The paintings and sculptures freeze a single state of an object in perpetual disintegration, while the video lets these transformations continue over time, much as the body and its environment draw closer, support and hold each other, and merge.
The artists first turned to a mythology of nature and technology thirteen years ago, in their project Inner Taiga (October 2013, Triumph Gallery). Its paintings were built around the image of an artificially constructed forest, which became a way of exploring shifts in perception. "We started with a paper sketch, then built the space in 3D and painted it in oil on canvas from the virtual model. We called this method 'virtual plein air.' In the sculptures, natural materials were combined with artificial and industrial elements", the artists explain.
Many years of experimenting with the plasticity of materials have allowed the artists to develop their own version of post-human reality, complete with its bodies, landscapes, creatures, and the connections between them.
Curator: Kristina Romanova
Many years of experimenting with the plasticity of materials have allowed the artists to develop their own version of post-human reality, complete with its bodies, landscapes, creatures, and the connections between them.
Curator: Kristina Romanova
Nothing happens by mistake
2024-2025
Oil on canvas
120 × 160 cm
2024-2025
Oil on canvas
120 × 160 cm
Nothing happens by mistake
2024-2025
Oil on canvas
120 × 160 cm
2024-2025
Oil on canvas
120 × 160 cm
The artists first turned to a mythology of nature and technology thirteen years ago, in their project Inner Taiga (October 2013, Triumph Gallery). Its paintings were built around the image of an artificially constructed forest, which became a way of exploring shifts in perception. "We started with a paper sketch, then built the space in 3D and painted it in oil on canvas from the virtual model. We called this method 'virtual plein air.' In the sculptures, natural materials were combined with artificial and industrial elements", the artists explain.
Many years of experimenting with the plasticity of materials have allowed the artists to develop their own version of post-human reality, complete with its bodies, landscapes, creatures, and the connections between them.
Curator: Kristina Romanova
Many years of experimenting with the plasticity of materials have allowed the artists to develop their own version of post-human reality, complete with its bodies, landscapes, creatures, and the connections between them.
Curator: Kristina Romanova
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