Peter Senoner develops a speculative form of portraiture. His figures—at once archaic and futuristic—read less as characters than as prototypes.

Across drawing, sculpture, staged photographs, and short animation loops, he tests how the human image can be re-engineered through small shifts of proportion, surface, and posture. Cosmorama gathers this research into a continuous field: serial heads and torsos, diagrammatic linework, and sequences that seem to let the bodies breathe. The works are coolly precise yet sensuous in their attention to skin, joints, and seams; faces are often withheld, redirecting the gaze to cranial volumes, sockets, and vectors.

Rather than spinning a mythology, Senoner builds a vocabulary—motifs recur, are combined, subtracted, scaled. Each iteration hovers between specimen and person, model and sculpture, as if from an unknown design lab. The book shows how he moves between media to calibrate distance and empathy, using the figure to think about evolution, technology, and identity without resorting to narrative illustration. Cosmorama reads less as a survey than as an atlas of possibilities.