In Event Horizon, particles of light traverse intricate fractal trajectories, their motion bent and fractured into luminous collapse – a visual analogue to the gravitational pull of a black hole. What first reads as a landscape is subtly destabilized: the traditional horizon line tilts into a vertical axis, partially losing its terrestrial meaning while amplifying the ambiguity and relativity of orientation in the boundless expanse of space. It is no longer a fixed threshold between earth and sky, but a mutable edge of perception, a point beyond which vision and comprehension cannot pass. || The work draws on the lineage of the sublime – from Caspar David Friedrich's mist–shrouded vistas to the cosmic imagery of the space age – yet reframes this tradition through the lens of contemporary science and digital aesthetics. Here, nature is not a stable subject for human contemplation, but an ungraspable, posthuman expanse in which the viewer is a fleeting observer rather than a central presence. || Philosophically, Event Horizon engages with the shift from anthropocentric beauty toward an aesthetics that acknowledges the autonomy of the nonhuman. Light itself becomes both medium and actor, inscribing patterns indifferent to the human gaze. The image suggests a cosmos that paints itself – an evolving, self–sustaining spectacle in which we witness only what escapes the pull.