These two paper collages on aluminum composite panels revisit Tashkent’s modernist architecture through the tension between utopian design and lived reality.

In The Magnificent Parallelepiped, two oversized hands seem to restore the original geometric facade of the Fine Arts Museum, now hidden beneath a later exterior. The grid becomes an image of architecture as an almost impossible ideal.

Kosinsky-Azimov’s Superior System turns to a residential building and asks what happens when a vision of perfect order meets everyday life.

Together, the works question whether architectural dreams can be realized, and whether every utopian dream should be brought to life.

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