Sergey Mikhalyuk

Evolution: from cell to consciousness.
From the aesthetics of vision to the aesthetics of sensation.
From the landscape of the planet to the landscape of the mind.

***
The size of an apple is known through sight.
Its taste – through sensation.
The structure of the world is revealed by vision,
Its essence – by cognition.
***

An immersive exhibition-journey.
From a visual exploration of the unity of natural forms and structures – to a holistic, embodied experience, where the camera becomes a projector of the inner world.

This interdisciplinary immersive project synthesizes art and science, choreography and philosophy, offering the viewer a deep sensory immersion. It is a large-scale exhibition by Belarusian artist, choreographer, and philosopher Sergey Mikhalyuk.

The project proposes a unique journey through three stages of cognition:
from the primal code of Nature – through the fixation of its forms – to the transformation of one’s own perception.
A path from the landscape of the cell to the landscape of consciousness.

This is a total installation, where the viewer enters the universe of FLUXISM in order to experience the co-creation of body, light, and chance.

PART I
CODE: ARCHAEOLOGY OF FORM (Homo sapiens)
The exhibition begins with a 30-year chronicle of journeys – from Mount Fuji in Japan to the lava fields of Iceland. It is an exploration of the unity of planetary form, its visual genetic code.

The viewer observes how wind, water, and time shape lava, stone, and ice into patterns reminiscent of living structures: veins, cellular membranes, the skin of ancient creatures. These works constitute a visual archaeology of form, demonstrating that nature – regardless of time and place – speaks to us in a universal language of lines and rhythms, transmitting the idea of the primordial unity of all living things.

PART II
FLUXISM: PROJECTION OF STATE (Homo sentience)
Here, photography continues its evolutionary trajectory.

Fluxism is presented as an innovative artistic direction in which the classical camera undergoes a 180-degree turn: it ceases to document the external world and becomes an instrument of its direct, embodied experience by the artist.

Recognizable forms give way to predominantly abstract fields of light, created “blindly” – in motion, in a state of flow (flux), with focus shifted away from visual composition toward the author’s bodily sensations during the process. These are no longer images of objects, but energetic imprints – traces of the encounter between consciousness and reality.

By transforming their relationship with the camera, the photographer transforms their relationship with themselves and with the world – and, most importantly, with the very act of photographing, moving from the position of an external operator-observer into a space of interaction.

BODY AS CREATOR
The project invites a rethinking of the physical body not as an object of pleasure, but as a primary organ of cognition and creation.
The body is not a passive consumer – it is a generator of reality. It transforms raw sensory data into unique experience and signals for consciousness, restoring a rich palette of perception.

Feeling is not a fixed set of reflexes. Like intelligence, sensation has its own evolutionary ladder – a path from basic self-preservation to higher creative states.

By directing attention into the body and consciously creating a dynamic sensory environment, we allow the organism on all levels to acquire the only truly authentic experience – one unmediated by thought.

This living, embodied experience becomes the nourishing ground for consciousness. It does not merely “move cells”; it transforms the very fabric of perception from which consciousness is woven, making it more sensitive, integrated, and capable of higher resonance – where sensation becomes not an egocentric signal, but a CREATIVE force.

WHY IS THIS RELEVANT NOW?
THE CONTEXT OF THE ERA.

Fluxism outlines a vector for the evolution of human perception at a time when artificial intelligence has brought logic, calculation, and representation to their absolute limit. The response to this challenge is not competition in simulation, but a movement inward – into the only domain inaccessible to algorithms: the realm of immediate, embodied, authentic experience.

In a world striving toward a virtual existence of “consciousness without a body,” Fluxism reminds us that the source of creation lies not in the processor, but in the pulsation of the living cell – a process that transforms experience into a luminous trace. This is not a path toward an analogue of the camera, but toward an analogue of the soul.

Fluxism cultivates, above all, cognitive flexibility, shifting attention away from the object and toward a state of total presence and perceptual wholeness, where five fundamental flows merge into an indivisible unity:
the living Breath of the body, pulsating Sensation, the primordial Movement of being, the creative act of Perception, and the projecting force of Thought.

It asserts that authentic reality is born not within any single one of these flows, but at the point of their synchronous resonance – when thought becomes gesture, movement becomes attention, and sensation becomes a trace of light.

This is a philosophy that rejects the hierarchy of “mind over body” and affirms their inseparability within the act of embodied presence.

SCIENTIFIC PERSPECTIVE
Fluxism has become the foundation of a scientific research initiative titled “Light-Motor Neurography” (LMN).Its aim is to demonstrate that these spontaneous light imprints function as unique biometric markers – objective projections of the activity of consciousness itself. Within this framework, the camera aspires to take its place alongside EEG and MRI technologies as a tool for neurocognitive research.

INCLUSION
Fluxism ultimately removes vision as a mandatory condition for visual creativity.
For a blind person, the camera is transformed from an apparatus that records the visible into a“cane of consciousness” – an instrument for projecting the inner world. Inclusion here is not adaptation to existing rules, but the creation of a fundamentally new paradigm, in which the limitation of sight becomes a creative advantage, sharpening and amplifying other channels of perception.

Sergey Mikhalyuk is a Belarusian photographer, choreographer, and philosopher working at the intersection of science art and documentary practice. He is a member of the Belarusian Union of Photographers and the Union of Photo Artists of Russia. In 2025, he founded Fluxism, an original authorial movement in photographic art, and developed the method of Light-Motor Neurography (LMN) – an innovative approach to visualizing states of consciousness through movement and light.

BIOGRAPHY AND ARTISTIC PATH
Sergey Mikhalyuk was born on April 30, 1970, in Minsk. From an early age, he combined a strong interest in visual art with sports, a synthesis that later shaped the somatic, body-based approach central to his artistic practice. His systematic engagement with choreography in the 1990s laid the foundation for a unique methodology in which movement, the body, and consciousness function as primary creative instruments.

KEY DIRECTIONS AND AUTHORIAL STYLE
Sergey Mikhalyuk does not photograph in order to capture the world.
He photographs to capture the perception of the world itself, asserting that photography is, above all, a process – and that its potential extends far beyond representation.

His method investigates the dynamics of light and form through embodied perception and perceptual interaction with the environment. Photography becomes not a fixation of external reality, but a projection of internal states, while the act of shooting itself transforms into an experience of total presence.

MAJOR PROJECTS AND PUBLICATIONS
Fluxism. Your Trace in the Universe – an authorial manifesto-book and an eponymous photographic project at the intersection of philosophy and art. It documents an experience of personal transformation in which a philosophical concept emerges from an artistic methodology uniting body, consciousness, and light into a single act of creation.

The Cell’s Evolution – an interdisciplinary project exploring visual parallels between biological and artificial structures.

Rice and Images of Vietnam – a black-and-white artistic photography project dedicated to the traditions, culture, and everyday life of Vietnam.

The Space of Qi – a philosophical and visual investigation of energetic flows and their interconnections.

CHOREOGRAPHY AND PERFORMANCE
In 1998, Mikhalyuk founded the contemporary dance theater “Magic,” which became a significant phenomenon in Belarusian choreography. Over the years, he has created more than 400 choreographic works. Under his direction, the theater toured extensively in Japan, the UAE, Russia, Turkey, Singapore, Egypt, and Italy. In 2001, the company released the dance film “A Dance That Can Change the World.”

PEDAGOGICAL PRACTICE
Sergey Mikhalyuk has developed comprehensive authorial teaching methodologies that integrate:

• Technical mastery (in choreography and photography).
• A somatic approach (deep awareness of bodily sensations).
• Eastern practices (work with Qi, Zen meditation).
• Cognitive techniques (attention management through breathing).

His methodology is grounded in scientific principles, including kinesthetic learning, neuroplasticity, and psychophysical self-regulation.

EXHIBITIONS AND RECOGNITION
Solo exhibitions include the Savitsky Art Gallery (Minsk), the G. Kh. Vashchenko Gallery (Gomel), participation in the Festival of National Cultures (Grodno), the Museum of History and Culture (Novopolotsk), among others.

KEY AWARDS
Grand Prix, “The North – A Country Without Borders” (2018).
Winner, Art Photography category, Viva Cola Art 2024.
Multiple award winner of international 35AWARDS competitions.
Laureate of National Geographic, Photocentra, and Art Limited contests.

COLLECTIONS
His works are held in the collections of state museums in Belarus and Russia, private collections in the United States, Europe, and CIS countries, as well as in the corporate collections of international companies.

PUBLICATIONS AND MEDIA
Sergey Mikhalyuk’s work has been widely covered by international media, including specialized publications (PhotoCasa, Shades of Gray, 1x.com), Belarusian state television (since 1989), international press (The New Paper, Singapore), and numerous digital and print art media in Belarus and Russia.

PHILOSOPHY AND CREDO
“The art of being oneself.”
Photography is a powerful means of self-exploration and a method of embodying visual images capable of transforming our lives.

“My works are artifacts, not decorations.I have not yet comprehended myself – but I am on the Path.”