The metamodernist Last Supper phantasmagoria speculates on the ‘Utopia codes’ generated to program happiness. Deciphering her intimate trauma through cathartic creativity, Irina Dzhus ironises about conventionalism throughout the history of mankind. She points out to a correlation between a desire for self-discovery and the urge for homecoming - and suggests navigation to a subjective idyll via randomised semantic references. DZHUS desaturates the spectrum, replacing colours with abbreviations. Social self-consumerism is traced to gastronomic sacraments and reflected in the ‘autophagia’ concept. Stoicism and self-sufficiency are cultivated through the ‘object=subject’ metaphor behind the multipurpose clothing. Irina Dzhus encodes the rainbow in blank, quilted surfaces. Jewelled pockets commemorate Holocaust, a maze motif is a Sinai nostalgia, and the rainbow lining celebrates an introspection. DZHUS caricatures the quasi-cultural dualism towards animals: from ‘food’ to ‘pet heaven‘. Homeware objects obtain wearability. A manifestation of abstract symbolism, “ANTICON” carries a thought-provoking mission.

The collection was produced by Ukrainian craftswomen and the soundtrack was composed by Hennadii Biliaiev from Kharkiv.