Dmitry Morozov, internationally recognized by his artistic alias ::vtol::, stands at the forefront of contemporary technological art through his innovative kinetic sculptures, robotic installations, and code-driven interactive systems. The Moscow-born, Ljubljana-based transdisciplinary artist and researcher has built a distinguished practice that seamlessly combines robotics, sound generation, programming, and responsive environmental systems. His electronic installations are designed to react and respond to environmental changes and viewer proximity, creating an immersive experience that blurs the boundaries between art and technology.
Morozov's artistic philosophy centers on creating what he describes as "entities with agencies" rather than simple technological tools. During a recent presentation at SónarD between June 12th and 14th, 2025, in Barcelona, the artist explained his unique perspective on technological art. "Ultimately, I perceive my works as participants in a gigantic performance called technological art," he stated. "This kind of art is very ephemeral, as the lifespan of any object is quite limited—either the electronics will break down, the software will be updated, or the mechanics will fail." This acknowledgment of technological impermanence adds a poignant dimension to his work, emphasizing the temporary nature of digital art forms.
The technical foundation of ::vtol::'s creations relies on sophisticated integration of electronic components, sensors, motors, and custom programming code. Each work incorporates microcontrollers that process sensor data and control mechanical movements with precision. These systems are programmed to respond to various environmental inputs including sound, motion, light, and other atmospheric changes, enabling the machines to exhibit unpredictable behaviors that appear to react to users' moods and interaction methods. This technological responsiveness creates an almost lifelike quality in his mechanical creations.
What distinguishes Morozov's approach is his application of sculptural methods to electronic construction. Rather than following traditional engineering protocols, he treats circuit boards, sensors, and actuators as sculptural materials, approaching them with an artist's sensibility rather than a technician's precision. "I'm partly a sculptor, and not an engineer," he explains, emphasizing how this perspective influences his creative process. This unconventional approach produces kinetic sculptures and robotic installations that develop distinct personality traits through their operational patterns and behavioral responses.
Sound generation systems frequently appear as recurring themes throughout ::vtol::'s practice, with mechanical components creating acoustic outputs through various methods including vibration, striking, and air movement. Electronic circuits process these generated sounds and feed them back into the mechanical systems, establishing complex feedback loops that create evolving soundscapes. The works function as autonomous performers, with sensors continuously detecting audience presence and environmental changes. Based on this input data, the systems modify their behavior patterns, ensuring that different audience interactions produce varying mechanical and sonic responses.
Morozov's artistic vision draws heavily from his childhood experiences with analog technology during the 1980s and 1990s. "I grew up in the 80s and 90s when half of all devices were still analog. These devices behaved so unpredictably that it seemed to depend even on your mood transmitted in the field around the object," he reflects. "Since childhood, I have been accustomed to perceiving devices not just as soulless objects, but as living beings." This formative experience with unpredictable analog technology continues to influence his current work, where he seeks to recreate that sense of technological liveliness and responsiveness.
The artist's installations explore complex relationships between living beings and technological systems, investigating how people interact with machines that demonstrate lifelike behaviors. His works respond to human presence in ways that suggest awareness or intention, creating an uncanny valley effect where viewers question the boundary between artificial and organic responses. Notable projects include "Reading My Body," a tattoo-based instrument, and "Last Breath," a wearable mask organ, both of which exemplify his interest in intimate human-technology interfaces.
Morozov's artistic journey began unconventionally, as he explains: "I started my journey as an artist completely unaware that I was one. I truly became a media artist before I even realized it myself." His initial fascination with experimental electronic music led him into DIY electronics around 2006-2007, including circuit-bending and building custom synthesizers and controllers. The transition to gallery spaces occurred when colleagues recognized the potential of his work for more prestigious venues, requiring only that he scale up his instruments and make them more accessible for audience interaction.
The DIY ethic remains fundamental to ::vtol::'s practice, reflecting his belief that "an artist should do as much as possible by themselves and use as little ready-made material or outsourcing as possible." This philosophy extends to extreme lengths, including projects like "Resistor" where he creates electronic components from scratch. While acknowledging this approach can lead to absurdity, Morozov maintains that the more exclusively an artist creates their work, the more it reflects their individual vision, though he recognizes the unique challenges this presents in technological art.
Risk and failure play crucial roles in Morozov's creative development, with mistakes sometimes proving fatal to projects while others open entirely new horizons and can completely transform a work's meaning. He embraces elements beyond his control as necessary for allowing his creations to truly exist. This philosophy extends to his open-source approach, as he readily shares both ideas and technical components of his projects, often leaving construction elements visible rather than hiding them in cases.
Morozov's teaching activities over the past five to six years have added another dimension to his practice, requiring him to systematize and structure his knowledge for effective sharing. This educational role has proven energizing, generating new ideas while allowing him to witness students apply familiar techniques in unconventional ways. The cyclical relationship between teaching and creating continues to inform his artistic development and expand his creative possibilities.
As contemporary digital art continues evolving, ::vtol::'s work represents a unique intersection of sculptural tradition and cutting-edge technology. His installations demonstrate that technological art can transcend mere technical demonstration to become genuinely expressive and emotionally resonant. Through his kinetic sculptures, robotic installations, and interactive systems, Morozov challenges viewers to reconsider their relationships with technology and question the boundaries between artificial and organic intelligence in an increasingly digital world.
