ÅGGVÄRLD
ÅGGVÄRLD
Left: Still from Sankar Nadeson's immersive artwork Cayard Temple: Jörmungandr-Naga Seiðvag
A first-person view reveals the Naga-Mjölnir-Linga, a hybrid ritual instrument—part gavel, part weapon—held before a customised Koenigsegg Jesko Absolut. The vehicle’s body is inscribed with speculative runes and Naga motifs, referencing Norse cosmology, Indic ritual forms, and symbolic weaponry. This moment marks a threshold in the performance: a virtual rite of passage where the player enacts ceremonial interaction with the vehicle as Seiðvag or sacred object.
Moderågg
A Monolithic Form of Origin and Potential
Artist Sankar Nadeson collaborates with master glassmakers across Germany, Sweden, and Australia to create Moderågg—a singular sculptural work rooted in clarity, restraint, and symbolic form. From the Swedish moder (mother) and ågg (egg), the work considers the egg as both architectural and spiritual: a universal emblem of origin, belief, and latent force.
Formed in the heat of the kiln, the glass object is minimal, weighty, and luminous—a meditation on containment and becoming. While elemental in its materiality, Moderågg also draws from design culture, mythology, and engineering, bridging ritual object and sculptural monument.
The work was inspired by a moment at the Geneva International Motor Show in 2020, during the early days of the COVID-19 pandemic, when Christian von Koenigsegg, in recounting the founding ethos of his company—a story that now reads as something more than mythic—dramatically revealed:
“Christian once said at GIMS 2020, in the midst of the pandemic, ‘The egg is simple,’” Nadeson reflects.
“That stayed with me. It holds form and potential without excess—quiet, complete, and enduring.”
Now held in the private collection of Koenigsegg’s first customer
Left: Artist, Sankar Nadeson works with the finest artisans on developing the Moderågg
Åggvärld Map
A Virtual Lodge for the Age of Disembodied Ritual
The Åggvärld is a research-led, interdisciplinary artwork exploring the aesthetics of power, anonymity and belonging within elite hypercar culture. Conceived during the early phases of COVID-19—when worship moved online and sacred spaces were refracted through screens—the project reflects on how bodies, identities, and hierarchies reconfigured under conditions of digital isolation and hypnotic immersion.
Created in conversation with inner circle Koenigsegg owners, whose enduring relationship with Christian von Koenigsegg forms the mythic spine of the project, the Metaverse unfolds as a symbolic system: part ceremonial lodge, part Venetian masquerade, part algorithmic theatre. Participants enter masked and ranked, engaging through game metrics that dictate access, roles, and visibility. Within this veiled architecture, admiration, aspiration, and initiation rituals play out across inner circles and hidden thresholds.
As sacred architecture and ritualised motion, As structures virtualised, so too did the liturgies of status, veiled knowledge, and ritualised motion. Äggvärld stages this convergence—where the machine becomes altar, the avatar becomes acolyte, and the virtual environment becomes cathedral of the initiated.
Glimpse of the Ågg
Sankar Nadeson first encountered the conceptual foundation of the egg during the Geneva International Motor Show 2020, when Christian von Koenigsegg revealed that every Koenigsegg vehicle is designed around the perfect form of the egg. This moment catalysed something profound in the artist, a revelation not of form alone, but of cosmology. The egg became more than an engineering metaphor; it became a mythic carrier, a ritual code.
For Nadeson, the egg echoed with ancient resonance: from a mustard seed of faith to a radiating burst of meaning; from the Vedic cosmogony of Prajapati, the creator born from the golden egg. This was not simply a design. It was insight, a symbolic igniting instance.
“In that moment, I felt launched into a space of potentiality,” Nadeson reflects,
“as if Koenigsegg had handed me not just a shape, but a vessel -a portal between the mythic, the symbolic and the engineered.”