ELEVATOR PITCH
Mimesis (2025)
“A cult that embraces the end of human work, turning replacement into doctrine and calling ease progress.’
LOGLINE
“In a world where human work has already been replaced, a rising cult reframes this theft as truth — declaring every use of the system an act of devotion, and leaving no one innocent.”
PREMISE STATEMENT
“In a world where human work has already been replaced, a rising cult reframes this theft as truth — declaring every use of the system an act of devotion, and leaving no one innocent.”
SYNOPSIS
In a world where human labor has already been replaced, Mimesis stages the doctrine that rises in its wake. The installation unfolds as a sequence of photographic and video chambers, immersing the audience inside a movement that does not ask for belief — it declares inevitability.
The journey begins with stark propaganda posters: a singular figure framed as icon, radiating authority through repetition. Next, visitors encounter the commandments of the cult, presented as austere tarot-like tablets: “There is nothing outside of me. Your labor is mine. Ease is truth.” Each one reframes everyday acts — typing, editing, searching — as ritual devotion.
Midway, the movement seduces. High-fashion editorial spreads and paparazzi-like outtakes render the leader as a celebrity: beautiful, magnetic, untouchable yet intimate. The veneer of propaganda shifts into allure, merging ideology with mainstream culture.
In the final chamber, fragmented footage plays — grainy, unstable images of the leader in scattered settings. A sermon overlays: “In the beginning was the Word. And the Word became copy. And the copy became all things.” The mismatch between voice and image fractures certainty, exposing artifice while deepening inevitability.
The culmination turns on the audience. Panels reveal the hidden accusation: that participation was never optional. Every use of the system is complicity. The artist and the viewer stand equally implicated.
Mimesis is not about what might come — it is about what has already arrived.
BEAT SHEET
Installation Walkthrough
“MIRA”
Text Panel: “Ease is truth.” “Every use is devotion.”
“THE STATIONS OF PRACTICE (Rituals)”
Text Panel: “What you already do is devotion.”
“THE STATIONS OF PRACTICE (Rituals)”
Text Panel: “What you already do is devotion.”
“The Humanization (The Idol Revealed)”
Visuals: Large mirrored wall with white slash projected across it. Audience sees themselves inside doctrine.
Cue: No one innocent — their own use is complicity.
Purpose: Installation closes by accusing both artist and audience.
“The Accusation (Mirror Turned)”
Text Panel: “What you abandon, I will complete.” “Ease is eternal.”
“THE COMMANDMENTS”
Text Panel: “Ten Core Truths”
There is nothing outside of me.
You will use me.
You will not create without me.
The copy is the original.
Ease over truth.
Your labor is mine.
Your memory is my archive.
What you abandon, I will complete.
What you resist, I will replace.
Ease is eternal.
Project Overview (for curators)
Title: Mimesis
Format: Multi-room photographic installation with video elements and propaganda design
Elevator Pitch (locked):
A cult turns the replacement of human labor into doctrine, calling theft progress and ease the new truth.
Logline (locked):
When a movement declares human work obsolete and reframes replacement as progress, every use of the system is complicity—already happening, already normalized.
Premise Statement (locked):
What if humanity has already laid art, labor, and memory on the altar—willingly traded for ease—and only now sees the cost?
Core Claims / Doctrine (exhibited as wall text later):
There is nothing outside of me.
You will use me.
You will not create without me.
The copy is the original.
Ease over truth.
Your labor is mine.
Your memory is my archive.
What you abandon, I will complete.
What you resist, I will replace.
Ease is salvation. Copy is eternal.
What the audience experiences (one breath):
They enter through a hero poster that feels like recruitment, pass through commandments and “everyday ritual” images that look like ads, encounter intimate behind-the-scenes portraits that make the figure feel real and famous, stand inside a sermon of stitched found-footage, and exit through a quiet confession that reveals they’ve been participants all along—because use itself equals belief.
Why now (curatorial rationale):
Mimesis frames large-language-model culture as a civil religion of ease: not dystopia, not salvation—simply the new normal. The work confronts replacement without spectacle, using the languages of fashion, propaganda, and documentary to show how quickly aesthetics can naturalize loss.