“Aliens” a captivating sculptural series by Olga Lomaka, delves into the profound concepts of human desire, the collective unconscious, and the sense of alienation through the lens of contemporary popular culture. Drawing inspiration from one of the most iconic narratives of science fiction — the arrival of extraterrestrial beings on Earth — Lomaka’s artworks challenge the traditional portrayal of aliens as fundamentally distinct from humanity. Instead, her alien creations mirror our own processes and ways of existence, embodying two contrasting states: screaming and meditation.

Lomaka explains her approach, stating:

“I perceive screaming and meditation as the two most vivid expressions of contemporary society. Both are closely tied to our deepest desires, those we hold as truths. Yet, what we often obsess over — as conveyed through screaming — seldom leads us to discover our true selves. It is only in moments of quiet contemplation, through dreams and meditation, that we can uncover our authentic identities.”

“Aliens” is built upon two striking juxtapositions. The first lies in the juxtaposition of the alien and human realms. Alien forms are contrasted with human desires, vividly portrayed in their eyes. These eyes serve as conduits or mirrors reflecting the obsessions of our modern society: money, love, brands, wars, politics, drugs, and technology. The monochromatic, fluid forms of the aliens sharply contrast with the glossy, bold logos of brands, flags, and common symbols of contemporary culture.

The second juxtaposition emerges from the contrast between the two postures adopted by the sculptures: screaming and meditation. Both postures have deep roots in Western culture, with screaming gaining prominence through Edvard Munch’s “The Scream” (1893) and meditation finding its place in new age philosophy. Both postures are intricately connected with popular imagination while simultaneously manifesting a yearning to transcend the tangible world and explore the unknown.

By representing her aliens in these contrasting postures, Lomaka aligns with the tradition of early portrayals of aliens in Western culture, such as H.G. Wells’ “The War of the Worlds” (1897), where these visitors served as reflections of societal fears and tensions. The dual composition of the sculptures enables viewers to transform the fears seen in the screamer’s eyes into a meditative state and vice versa. Yet, it’s crucial to remember that these sculptures are aliens, not humans, introducing an element of estrangement that makes the series both critical of the human condition and self-reflective.

“Aliens” sheds new light on consumerism and the contemporary social media-driven society with a remarkable blend of form, meaning, futuristic vision, and the collective unconscious. Its bold sincerity, tribute to expressionism, and exploration of unconscious realms firmly establish it within the diverse contemporary art landscape.