Infinity: From Before is a continuation of the experimental animation begun in Infinity: The Beginning. It is a return—to the fractal landscapes, to the exploration of sublimation, to the question of what it means to encounter the infinite. But it is also a deepening, a movement further into the territory of feeling, memory, and the cycles that bind us across time.

The project is rooted in the study of fractal systems. Throughout human civilization, fractals have served as a model for understanding nature—its mathematics, its aesthetics, its complexity. The feeling of infinity, of the sublime, is intimately connected to this understanding. In Infinity: From Before, Strahinja Jovanović explores this connection through endless movement: growth unfolding, depth expanding, forms shifting in ways that suggest both precision and mystery.

The animation is accompanied by a poem, also titled "Infinity." The poem speaks of memory, of cycles, of a soul that remembers—"You know me from before." It tells of shores and scars, of battles and gardens, of love that repairs and wings that are fixed. It weaves together images of nature and spirit, of the individual and the collective, of the stories that repeat across lifetimes.

The poem is integral to the work, creating cohesion between image and text. The fractal forms become illustrations of the poem's concerns: the complexity of experience, the depth of relation, the sense that we are always returning to something we have known before. The music and sound design deepen this cohesion, creating an environment that is both meditative and urgent, both vast and intimate.

The title Infinity: From Before suggests a cyclical understanding of time. Not the linear progression of clock and calendar, but the circular movement of seasons, of growth and decay and renewal, of souls that meet across different lives. The work asks what it means to remember—to feel that we have been here before, that we are part of something larger than our individual lives, that the patterns we see in fractals are also patterns of existence.

For Strahinja, the project is an exploration of the sublime in contemporary terms. The sublime—the feeling of encountering something vast, something beyond comprehension—has traditionally been associated with nature: mountains, oceans, storms. But what if the sublime can also be found in the fractal, in the patterns that repeat across scales, in the mathematics that underlies the natural world? Infinity: From Before proposes that it can. The fractal becomes a site of sublimation, a space where we can encounter the infinite not as abstraction but as felt experience.

The work also reflects a broader interest in the relationship between art, science, and spirituality. The fractal is a mathematical object, but it is also a metaphor: for growth, for relation, for the structure of consciousness. Infinity: From Before uses this metaphor to explore questions that resist easy answers: What is the self? What is memory? What does it mean to love across time?

In the end, Infinity: From Before is a meditation on return. Return to the fractal, return to the poem, return to the question of what it means to encounter the infinite. It is a work that asks us to see ourselves in the patterns that repeat, to remember that we have been here before, to feel the sublime in the movement of forms that never end.

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