J(o.b.s)

Hi-J(o.b.s) (2025) by MET Devoti is the concluding chapter of the Hi trilogy—a pop/concept series dedicated to the iconic symbol of the personal computer. In this work, the everyday device—now inseparable from contemporary life—emerges as a central emblem, elevated from mere object to cultural totem. The title carries a subtle homage to Steve Jobs, a pivotal figure in the technological revolution, whose legacy continues to shape our perception of the digital world.

Created in a historical moment marked by collective fascination with artificial intelligence, Hi-J(o.b.s) evokes a future in which the virtual becomes so vivid and persuasive that it dissolves the boundaries between human mind and machine. The sculpture reflects on the idea that the computer is no longer just a tool, but a living entity capable of influencing, captivating, and ultimately overtaking our consciousness.

At the heart of the work lies a sense of disorientation—an almost hypnotic seduction—born from what the artist calls a “digital drug.” Devoti explores the fragile threshold where thought blurs into simulation, where the user can no longer discern whether their perception is an internal illusion or the imprint of another emergent intelligence. It is a condition suspended between wonder and inquietude, between human agency and technological enchantment.

Hi-J(o.b.s) becomes thus a contemplative lens on the relationship between humans and technology: a reflection on the power of thought, on the evolving nature of consciousness, and on the increasingly thin line separating reality from its virtual counterpart. Through its symbolic force, the work seals the trilogy with a vision that is both prophetic and deeply human—an invitation to question who is observing whom in the era of intelligent machines.

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