Oddballs
Little People
Order of the Wild
Vague Reality
Artist Statement
Sofi Stern is a contemporary artist who creates distinctive dystopian worlds populated by fantastical creatures. In her work, she combines elements of Fauvism, Dadaism, and childlike drawing to explore the tension between individual identity and societal norms, as well as the bewilderment that arises from the absurdities of modern life. These surreal settings encourage viewers to reflect on their own existential questions.

At the core of Sofi Stern’s practice is the creation of dystopian realms inhabited by fantastical beings. Frozen in moments of visible confusion, these characters serve as metaphors for the human condition in contemporary society. By constructing an alternate universe with its own hierarchy and backstory, Stern delves into the sense of disorientation that emerges when one’s inner self collides with social expectations.

A central theme in her work is the tension between genuine emotions and the social frameworks that dictate norms and conventions. This tension manifests in surreal scenes and figures that mirror modern existential concerns. Irony is a key tool in crafting these worlds, enabling Stern to play with patterns and conflicts, thus opening space for critical reflection on reality.

Drawing on childhood experiences and an embrace of her “inner child,” Stern creates vibrant, naïve, and symbolic imagery. Placed within dystopian landscapes, these images offer fresh perspectives on familiar social constructs and encourage viewers to examine their own internal conflicts.

Through her ironic approach, the artist suggests ways to navigate complex questions, instilling a sense of lightness and spontaneity when confronting personal contradictions.
Exhibitions
Manifest Content
The Good Rice Gallery, London

Manifest Content is a collaborative curatorial project divided across two spaces, exploring different strata of the self. The central exhibition, focused on the inner architecture of identity, is located in the basement and draws on expanded theories of subjectivity and perception. Thinkers such as Donald Winnicott, Wilfred Bion, and Jacques Lacan inform the conceptual framework, particularly their ideas of the fragmented self, the space of reverie, and the image as a site of both recognition and misrecognition.The artworks are loosely organised around shifting psychic positions of the subject, tracing tensions between impulse, reflection, and internalised structures of authority.Rather than treating digital and physical artworks as separate categories, the exhibition stages them as interdependent psychic registers. Print, projection, and object operate together as shifting surfaces onto which desire, memory, and control are inscribed. In this environment, the viewer is not simply observing finished works but moving through a constructed mental landscape, where images behave like thoughts—overlapping, contradicting, and reconfiguring the boundaries of the self.
FAKE TRUTH

Gallery Ochre Phydital, St. Petersburg

Digital technologies have radically changed our relationship with images. While until recently a photograph or video was perceived as a reliable document, today the line between reality and its simulation has been almost erased.
What kind of society emerges where "truth" and its simulation become interchangeable? What can art be in an era of lies and post-truth? What exactly do we understand by this beautiful yet troubling word?

The exhibition explores the nature of digital technologies—their ability to endlessly edit images, shift perspectives, and offer different versions of reality.
Here, the viewer encounters not only an image but also a question: what are we willing to rely on when everything could be fake?
Vague Reality

Gallery CUBE, Moscow

In today's world, the concept of a "new Middle Ages" is emerging. What connects modern individuals with the medieval understanding of the surrounding world order?

The consciousness of medieval people existed in two realms: the physical world and the metaphorical one.

Metaphysical reality could not be seen; its "vague contours" could only be felt or intellectually comprehended.

Today, we observe a parallel where, beyond our everyday reality, a "vague" reality also reveals itself, shaped by various sources.

Through diverse visual languages and imagery, the artist creates spaces of "vague reality," inviting viewers not only to immerse themselves in it but also to sense its outlines.
I’m not a robot
Gallery CUBE, Moscow

In the era of premonition of technological singularity, control of feelings and desires of people, presented that reasonable and effective factors are leading factors in modern society, we talk about everything wrong and "alive". When a computer test simulates a person from a bot, it sees not that we clicked on all the necessary pictures, but how we did it: illogically, with different stench of time, clicking on different parts of the picture. "Wrongness" in the result of the test makes us people in the eyes of the machine. The project is dedicated to these mistakes
Projects
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