Aesthetic Obstruction

In Aesthetic Obstruction, a collection of everyday objects becomes a set of self-sabotaging instruments of beauty.
They don’t block the world — they interrupt the habit of looking.

Where art usually seduces, this series refuses.
The forms — once familiar, sentimental, or kitschy — are now distorted, covered, or made excessively beautiful.
The aesthetics chafe; they are deliberately in the way.

In some pieces, money is hidden — cash, a ledger, a seed phrase.
Not as a joke, but as a statement: value literally concealed inside what no one desires.
A baroque vase, a blue deer, a deformed teapot.
What’s considered ugly or insignificant becomes the safest place for value.

Aesthetic Obstruction is not destruction but protection —
a quiet strategy in which beauty and security trade roles.
When systems fail, form remains.

Research Trajectory — Between Value and Form

My practice moves between two frontlines: the economy of belief and the aesthetics of resistance.
In FinTech Art, I explore how systems define value — through money, code, and trust.
In Aesthetic Obstruction, I turn that lens inward, asking what happens when form itself becomes a system — one that manipulates, protects, or deceives.

Both collections are part of an ongoing investigation into how art can expose the quiet mechanisms that shape our sense of security, beauty, and worth.
Each object is a test — of visibility, ownership, and faith, and of the thin line between function and illusion.

Artist’s Reflection

For me, this research is not about answers but about endurance —
about how meaning survives when systems fail.

— Annelies Nuy, 2025