Hi, I’m Kiryl! I'm a digital visual artist.
Hi, I’m KirYl! I'm a digital visual artist.
Hi, I’m Kiryl! I'm a digital visual artist.
At the moment, I’m deeply immersed in liminal and 3D aesthetics and ready to turn them into a my philosophy
At the moment, I’m deeply immersed in liminal and 3D aesthetics and ready to turn them into a my philosophy
At the moment, I’m deeply immersed in liminal and 3D aesthetics and ready to turn them into a my philosophy
This all took shape under the name 19:48, and thanks to your interest, it continues to growwwwwwwwww
This all took shape under the name 19:48, and thanks to your interest, it continues to growwwwwwwwww
This all took shape under the name 19:48, and thanks to your interest, it continues to growwwwwwwwww
liminal
liminal
spaces?
spaces?
I use every tool available to me and constantly experiment with form and process. From basic photo manipulation in Photoshop and renders in Blender/UE5 to AI collage techniques and the deconstruction of spaces in countless ways
For me, technology is not the goal — it is a means to approach a feeling that cannot be expressed directly
I use every tool available to me and constantly experiment with form and process. From basic photo manipulation in Photoshop and renders in Blender/UE5 to AI collage techniques and the deconstruction of spaces in countless ways
For me, technology is not the goal — it is a means to approach a feeling that cannot be expressed directly
At some point, I became obsessed with creating strange, dreamscape spaces — places that appear empty, yet evoke a wide range of emotions
Over time, this obsession evolved into a desire to refine a personal visual language of form and light, shaping an entire universe I want to return to, a space where I feel compelled to linger longer than logic would normally allow
liminal
spaces?
I use every tool available to me and constantly experiment with form and process. From basic photo manipulation in Photoshop and renders in Blender/UE5 to AI collage techniques and the deconstruction of spaces in countless ways
For me, technology is not the goal — it is a means to approach a feeling that cannot be expressed directly
At some point, I became obsessed with creating strange, dreamscape spaces — places that appear empty, yet evoke a wide range of emotions
Over time, this obsession evolved into a desire to refine a personal visual language of form and light, shaping an entire universe I want to return to, a space where I feel compelled to linger longer than logic would normally allow
At times, these spaces offer a rare calm — a sense of detachment, like sinking underwater or drifting through open space, where sound fades and nothing demands your attention
At times, these spaces offer a rare calm — a sense of detachment, like sinking underwater or drifting through open space, where sound fades and nothing demands your attention
I have long been obsessed with the sensations found in the universes of Silent Hill, Twin Peaks, Kubrick’s films, and other masters of atmosphere and spatial tension
What I saw there frightened me and pulled me in at the same time. That dual feeling stayed with me, and it can be felt throughout my work
I come from a background in graphic design, electronic music,
and a deep love
for cinematography.
This allows me
to merge visual language, sound,
and a sense of cinematic rhythm
into a one space
I have long been obsessed with the sensations found in the universes of Silent Hill, Twin Peaks, Kubrick’s films, and other masters of atmosphere and spatial tension. What I saw there frightened me and pulled me in at the same time. That dual feeling stayed with me, and it can be felt throughout my work
I bring my own ambient music experiments into the game and approach visual composition with the same attention as a film frame — pushing immersion to a deeper level
I come from a background in graphic design, electronic music, and a deep love for cinematography. This allows me to merge visual language, sound, and a sense of cinematic rhythm into a one space
I bring my own ambient music experiments into the game and approach visual composition with the same attention as a film frame — pushing immersion to a deeper level
This is Hanna!
My only assistant — and my muse
I’m deeply thankful to her — without her, this project wouldn’t exist
This is Hanna!
My only assistant — and my muse
I’m deeply thankful to her — without her, this project wouldn’t exist
This is Hanna!
My only assistant — and my muse
I’m deeply thankful to her — without her, this project wouldn’t exist
I create my own ambient soundscapes
My current goal, which over time became a dream, is to embody all my observations and sensory experiences in a liminal video game
My current goal, which over time became a dream, is to embody all my observations and sensory experiences in a liminal video game
My current goal, which over time became a dream, is to embody all my observations and sensory experiences in a liminal video game
support
me
support
me
I continue to develop it independently, alongside my full-time job outside the game industry
At some point, this project grew beyond a side experiment. It became something that asks for time, care, and resources to be completed properly — slowly, thoughtfully, and with love <3
I continue to develop it independently, alongside my full-time job outside the game industry
At some point, this project grew beyond a side experiment.
It became something that asks for time, care, and resources to be completed properly — slowly, thoughtfully, and with love <3
If you feel drawn to liminal spaces and the emotions they carry, your support keeps this project growing, allowing me to give it the steady care and attention it deserves
If you feel drawn to liminal spaces and the emotions they carry, your support keeps this project growing, allowing me to give it the steady care and attention it deserves
19:48 ∵ nineteen.fortyeight ∵ Into the Liminal
©2026 Kiryl Dubik. All rights reserved.
kiryldubik@gmail.com
19:48 ∵ nineteen.fortyeight ∵ Into the Liminal
©2026 Kiryl Dubik. All rights reserved.
kiryldubik@gmail.com