Objects of Absence: Rituals, Information, and the Shape of the Unknowable The works of Leo Katunarić Kadele—comprising paintings, sculptural fragments, and hybrid 3D forms—emerge from the residue of live performances and pseudo-techno-human rituals. These objects are not static creations; they are the fossilized gestures of embodied acts, documents of ephemeral ecstasy. Yet, paradoxically, they are also artifacts without anchorage—objects that never fulfilled the ritual purpose for which they may have been unconsciously designed. Charged with latent function, these works persist in a state of suspended meaning. They operate within expanded networks of spatial and symbolic coordinates, yet resist final interpretation. Neither the viewer, the artist, nor the objects themselves are privy to their true intent. In this way, they become mirrors of the world that produced them: highly coherent in form, yet fundamentally subversive in essence. Each piece carries a latent threat—disrupting the very logic of the systems that frame and attempt to define them. Kadele’s practice stages a prophecy of absence. These are not prophetic objects in the traditional sense, conveying divine truth or metaphysical clarity. Instead, they expose a future through an excess of data, imagery, and fractured language—a future that does not yet exist, but which haunts the present. This is not transcendence; this is a techno-material ecstasy. A new form of vision, not mediated by gods, but by glitches, gaps, and the ineffable residue of lost human intention. As Buygur Han suggests, description itself can strip an object of its ritualistic potency, transforming it into a vessel of informational logic. Kadele’s works inhabit that post-magical space. They hover between the sacred and the digital, the visceral and the virtual. In doing so, they create ruptures—openings through which we might glimpse the interface between gods and men, algorithms and bodies. These are not symbols. They are tools of reflection and disruption. They are lamps in the void—illuminating terrains of rejection, liminality, and deferred meaning. To encounter them is to confront the uncanny architecture of our own systems—human and non-human alike. We begin to recognize in them the contours of our fears: the fear not of obsolescence, but of transformation.