With so much of the built environment built not to delight but simply to function, the concept of post-production architectural imagery becomes a viable way of retroactively taking pleasure in the spaces we inhabit.
Alex Lysakowski's Antistructures are digital manipulations of buildings and built elements which might otherwise not grab attention (nor were built with the intention of grabbing attention). Lysakowski's signature move is stretching an ordinary building's proportions to a point just beyond believability, forcing them to enter definitions of monumentality, timelessness and noble austerity.
Based in Ontario, Canada, Lysakowski writes that his work "creates images with surreal and uncanny structural interaction within banal surrounding landscapes, eluding to a transitional space between reality and fiction while still retaining realism within the atmosphere of the image." Unlike Gordon Matta-Clark's Anarchitecture, which physically altered buildings through the use of chainsaws and jackhammers, Lysakowski's Antistructures leave the original buildings intact while propagating images of their fictionalized grandeur across the internet.
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