Michael Staniak's work, at first glance, lends itself to misunderstanding. The seemingly abstract compositions, dominated by vivid color gradients, seem to tell a story of the digital world, about the flat surface of the screen and the frivolity of our lives on social media. The work of the Australian artist (born in 1982 in Melbourne) is often identified with Post-Internet art, a term that was released in the early 2010s to identify the work of a group of young artists whose works denote a profound influence of the content they consume on the web. Although Staniak fits this label, both generationally and at the level his dominant aesthetic, as well as himself acknowledging the influence of this fleeting and controversial artistic movement, other deeper references cast a new light on his work. “I am part of the generation that went from primitive computers, with black screens covered in green text” says the artist, “to the hyper-digital world we live in today.” Discovering the possibilities of image editing programs like Photoshop transformed his perception of what could be created with a computer, despite the limitations of early graphical interfaces and primitive drawing p