Metarenaissance is Yana Germann’s long-term artistic framework for the post-digital age. 'Meta' signals beyond the Renaissance: not a revival of style, but a translation of its symbolic logic — presence, perception, and perspective — into contemporary inner architecture.
If the historical Renaissance organized outer space through linear perspective, Metarenaissance turns perspective inward — toward emotional and symbolic space.
Across oil painting, sculpture, and video game installations, Germann builds interconnected worlds where the figure appears as an avatar—a psychological interface for memory, desire, and transformation.
Her method of recursive embodiment (clay → digital environments → painting) uses technology as a passage back to material presence, bringing tactility and the body back into focus.
Within Metarenaissance, Post-Simulation Humanism names this shift: in an age of hyperreality, technology doesn’t replace the human—it re-embodies it, restoring presence and emotional depth.
If the historical Renaissance organized outer space through linear perspective, Metarenaissance turns perspective inward — toward emotional and symbolic space.
Across oil painting, sculpture, and video game installations, Germann builds interconnected worlds where the figure appears as an avatar—a psychological interface for memory, desire, and transformation.
Her method of recursive embodiment (clay → digital environments → painting) uses technology as a passage back to material presence, bringing tactility and the body back into focus.
Within Metarenaissance, Post-Simulation Humanism names this shift: in an age of hyperreality, technology doesn’t replace the human—it re-embodies it, restoring presence and emotional depth.
AVATAR SYSTEM
Five modes of perception — each a chapter of the same universe.
Across painting, sculpture, and interactive work.
Across painting, sculpture, and interactive work.
RECURSIVE EMBODIMENT
clay → digital → painting
clay → digital → painting
Image returns with weight and presence.
A cyclical method where an image migrates between bodies. Forms begin in matter (sculpted or drawn), pass through a digital stage, and return to painting/objecthood—restoring tactility, weight, and presence within technological reality.
A cyclical method where an image migrates between bodies. Forms begin in matter (sculpted or drawn), pass through a digital stage, and return to painting/objecthood—restoring tactility, weight, and presence within technological reality.
PLAYABLE MYTHS
Video games as an emotional myth, not entertainment.
Games function as 'playable myths': short interactive chapters where choice, tension, and consequence reveal the viewer’s patterns of perception. The game is not gamification — it’s an embodied format that extends the work into time, space, and agency.
Games function as 'playable myths': short interactive chapters where choice, tension, and consequence reveal the viewer’s patterns of perception. The game is not gamification — it’s an embodied format that extends the work into time, space, and agency.
