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DeeKay is an animator and digital artist recognized for his distinctive style, which blends simplicity and dynamism while drawing inspiration from retro games. With a 10-year background as a motion designer at renowned companies like Google and Apple, he took the leap into becoming a full-time artist, embracing the world of fine art and dedicating himself to creating his own digital art to convey narratives. DeeKay's works embody his artistic philosophy that "Art is for everyone" and he consistently creates his own art to tell stories that can resonate with people of all ages.

At its core, Max Patté’s practice is an exploration of the infinite qualities of light and how it is expressed in the natural world manifested into physical works in the studio utilising the technologies he has at his fingertips. Advances in modern technologies are a constant source of inspiration to the production of Patté’s work. The latest developments in an array of computer programs, iPad apps, CNC Milling, digital scanning and 3D printing are all employed on a day to day basis in his studio. Light, colour, tone, saturation, warmth all have a direct effect on our mood; changing our emotions as much as our environment. Through the use of colour and light Patté’s practice, which spans light works, painting and sculpture, endeavours to emit the same effect. Patté aims to change the space in which the work is viewed and alter the viewers’ relationship to that space. In much the same way that our immediate natural environment prompts a physiological change, Patté aims to produce work that offers a multi-sensory experience that provokes an emotional response. Patté’s highly collected Infinity Works series are an interplay of colour, space, light and shape, a twist on the fundamental characteristics of painting, art and design. Coloured glowing bodies appear to float in infinite space, the spaces between them like black holes that invite inspection, pulling the viewer into their glossy dark depths. These playful works or experiences are in equal measure about the dark space between the coloured patterns as the works themselves. They can be viewed as paintings or sculptures or simply as objects of illusion and intrigue. Max Patté studied at the Wimbledon School of Art in London (1997-2000) and was elected an Associate of the Royal Society of British Sculptors in 2008. Max currently works between England and New Zealand.

Leander Herzog (1984) is a visual artist based in Switzerland, creating images with code since 2006. His focus is generative art and abstract animation on the web, exploring the contrast between the simplicity of algorithmic systems and the complexity of their emergent properties. Herzog's work explores themes of personal and collective memory, as well as the ways in which we perceive and respond to societal and political constraints. In the last decade, his work evolved from static images to realtime web-based moving works, including generative audio, interactive installations, data driven sculpture and digital fabrication. Herzog’s work has been exhibited in public institutions and galleries, including Transmediale with DAM Projects (Berlin), Kunsthaus Pasquart (Biel), Kunsthalle Zürich, Modal Gallery (Manchester). Previous artworks have been acquired by museums and institutions such as ZKM Karlsruhe, HEK (Basel) and Francisco Carolinum Linz.

I am a creative coder and generative artist. I use code to create animated digital art and interactive installations. With a minimalist style, my work focuses on movement and flow using algorithms and mathematics to discover the hidden beauty in numbers.

Sougwen 愫君 Chung is a Chinese-Canadian artist and researcher, and is the founder and artistic director of Scilicet, a London-based studio exploring human & non-human collaboration. Chung is a former research fellow at MIT’s Media Lab and is considered a pioneer in the field of human-machine collaboration – exploring the mark-made-by-hand and the mark-made-by-machine as an approach to understanding the dynamics of humans and systems. Sougwen Chung received the Lumen Prize for Art in Technology, was an inaugural E.A.T. Artist in Residence in partnership with New Museum and Bell Labs, was awarded a commission for project Omnia per Omnia, was the Japan Media Arts recipient of the Excellence Award for Drawing Operations, and more recently has been awarded by TIME Magazine as one of the 100 most influential people in AI, while also receiving their TIME Impact 2024 award and speaking at World Economic Forum Davos. Additionally, Sougwen Chung has been awarded Artist in Residence positions at The Arctic Circle, Google, Studio Wayne McGregor, Laurenz Haus Basel, Eyebeam, Japan Media Arts, and Pier 9 Autodesk.

Krista Kim is a digital artist and founder of Techism (2014), whose work explores the concept of digital consciousness. Her interest in digital technology and its revolutionary effects on human perception, media, social structures, and communication led her to work in both digital and physical realms. Having developed her signature language of shifting gradients using digital software since 2012, her works on glass and plexi hypnotize its viewers into a trance of tranquility while her immersive video works provide meditative experiences of color and light. Kim is also the Co-Founder of Creative Immersive Production Studio, 0Studio.ai. In 2020, Kim continued to explore the creative potential to utilize screens as digital instruments of well-being by creating 'Mars House': a completely virtual environment using her digital zen philosophy as the first “Metaverse home” for sale as an NFT in history. The piece received global acclaim and in March 2021 was the highest-grossing sale on an NFT on SuperRare. In 2014, as a response to society's over-reliance on technology, she started the Techism Movement, a philosophy that recognizes technological innovation as an artistic discipline, encouraging artists to promote digital humanism for our digital culture. Krista Kim’s Continuum installation was featured in Times Square every midnight in Feb 2022. She is a Cultural Leader for World Economic Forum and she wrote a Metaverse essay for New York Times, and is the first Metaverse artist of the permanent LACMA collection. Krista is a Cultural Leader of the World Economic Forum, and was chosen by Louis Vuitton as a #Louis200 visionary in celebration of Louis’ 200th birthday and created the first Lamborghini NFT in history in collaboration with Steve Aoki; Krista is contributing Metaverse Editor for Vogue Singapore; Top 30 Most Influential People of the Metaverse by Read and Write Magazine; Architectural Digest AD100, NFTy50 by Fortune Magazine. Kim made an iconic collaboration with Lanvin in 2018. In 2021, Kim collaborated with Mercedes Benz EQS. Kim was creative director for the Utah Jazz NBA Team, “JazzXR” campaign, the first Sports Team Metaverse NFT in history.

Agoria is a French multidisciplinary artist and DJ, whose work connects technology and nature. Bringing together art, music, and science, Agoria's focus on generative algorithms, web3, AI, and biological systems have resulted in his unique biological generative art - from depicting brain cells as mysterious and galaxy-like, to exploring how plants communicate, and the repetitions of human gestures. Agoria has collaborated with Philippe Parreno on his lauded installations at the Park Avenue Armory in New York, and in the Tate Modern's Turbine Hall in London. Compend- Ai "I look for the immanence of the living into the code, especially in the {Compend-AI} series. The difficult part was to capture a human generative process that couldn't be questioned. For a year I traveled capturing human gesture repetitions, in order to build my own precise database. It has been a long and exciting walk where the poster maker appears as evidence. I followed them a lot and I captured all remnants on the walls everywhere in the world, my DJ tour helped a lot here! It's one of the most incredible human generative processes. First, it questions the culture we are constantly sold, close to Jacques Villegle or Raymond Heins works. Second, the remnants on the walls are the perfect results of the equation. The perfect iterations of our Biological Generative life. Once I've built the most personal dataset, the second part was to look for patterns or similarities with the Living. My friend Johan Lescure has then been essential here. We tricked the algorithms to reveal what the eye couldn't see inside those data materials. Insanely, we are revealing forms and patterns really close to the living.

Lumen Prize-winning artist Petrić masterfully combines art, technology and real-time data to depict nature’s fragility. Her sculptural installation Specimens of Time: Hoh Rain Forest (2025) part of the Specimens of Time series, takes the form of a cube that pulses with light to channel live climate data. The dynamic work is designed to evoke the delicate balance of the rain forest’s vanishing ecosystem, transforming ephemeral environmental trends into a tangible visual experience. Reflecting the convergence of nature, data, and human experience, her work offers a lasting impression and a poignant reminder of the interconnected continuum we inhabit.

My work explores the intersection of cultural identity, speculative fiction, and digital innovation, centering on the evolving role of aunties—a social archetype deeply embedded in everyday life yet often overlooked or misrepresented. Through AI-generated visuals, digital storytelling, and physical installations, I construct alternate realities where aunties take center stage, navigating imagined economies, urban landscapes, and ecological futures. My practice challenges conventional perceptions of ageing, gender roles, consumerism, and environmental responsibility, reframing narratives through a lens of humour, surrealism, and critical reflection. At the heart of my work is the Auntieverse, a continuously expanding speculative world where aunties exist beyond societal expectations. The project began as a way to question and reimagine ‘auntie culture’, a term often used pejoratively in my home country, Singapore, to describe older women with outdated tastes or overbearing tendencies. Niceaunties seeks to reclaim and celebrate the auntie identity, drawing from personal observations of the women in my life—my grandmother, mother, and aunties—who shaped my understanding of care, resilience, and community. The work critically engages with how aunties express love, authority, and defiance, translating these narratives into fantastical yet deeply familiar scenes. Thematically, my work extends beyond gender and identity to larger societal and environmental concerns. In works like Auntlantis, I explore pollution and waste culture, envisioning a world where aunties collect and repurpose ocean plastics in a surreal, dystopian seascape. Along the River in Auntieverse, commissioned by Christie’s Art + Tech Summit in New York (2024), reinterprets the historic Chinese scroll Along the River During the Qingming Festival, transforming it into a commentary on water scarcity, urbanization, and environmental degradation. Other projects, such as Going Home, address deforestation and habitat destruction, while Niceburg and Snowman reflect on climate change and rising sea levels. Across these works, aunties are positioned as unexpected protagonists in global crises, turning care work into acts of rebellion and survival. AI plays a critical role in my creative process, allowing me to construct impossible compositions, iterate ideas at the speed of thought, and bridge traditional world-building with new media storytelling. I do not see AI as a replacement for artistic labor but as a collaborative tool—one that enables me to visualize speculative futures that would otherwise be impossible through conventional means. AI’s capacity for rapid prototyping and complex visual generation has expanded my ability to engage with contemporary themes while maintaining the spontaneity and irreverence that defines my work. As my practice evolves, I am particularly interested in the integration of digital art with physical installations and real-world interactions. In Aunties in Dis Place, developed during an artist residency in Pueblo Garzón, Uruguay (2024), I blended AI-generated characters into real environments, using large-scale projections on hanging laundry to create a layered, immersive experience. This approach highlights my ongoing interest in merging the digital and physical, making the speculative tangible. Ultimately, my work serves as both a cultural archive and a site for reimagination—a space where aunties are no longer peripheral figures but central to the narrative, shaping and reshaping the worlds they inhabit.

Jason Sims is a contemporary Australian artist known for his sculptural works that explore the potential of light and reflection to create simple illusions of space and form. He is most interested in producing work that serves as a vehicle to re-imagine the space encountered - to deconstruct perceived physical limitations - and facilitate a kind of meditative response allowing viewers to interpret the illusion of space created as reality. He enjoys working with illusion for its ability to evoke the sublime and its power to interrogate our understanding of the world around us. Playing with perception, he invites viewers to exercise their imagination and see the world in new ways. Since graduating with a Bachelor of Visual Arts (Honours) from the University of South Australia in 2006, Sims has exhibited across Australia as well as in Hong Kong, the USA, the UK and Europe. His work is held in major public and private collections around the world and he has been a finalist in a numerous awards. In 2021, Sims was commissioned by Illuminate Adelaide to deliver a major public artwork as a gift to the city to celebrate the Festival’s inaugural year, and in the past year he has exhibited work in exhibitions and art fairs in Melbourne, Miami, Palm Beach, London, Amsterdam, Paris, Lille, Karlsruhe, Madrid and Seoul.

Kevin Abosch (born 1969) is an Irish conceptual artist who works across traditional mediums as well as with generative methods including machine learning and blockhain technology. Abosch's work challenges conventional notions of identity, value and truth by posing ontological questions and responding to sociological dilemmas. Abosch's work has been exhibited throughout the world, often in civic spaces, including The Hermitage Museum, St Petersburg, The National Museum of China, The National Gallery of Ireland, Jeu de Paume ( Paris), The Irish Museum of Modern Art, The Museum of Contemporary Art Vojvodina, The Bogotá Museum of Modern Art, ZKM (Zentrum für Kunst und Medien) and Dublin Airport. He lives in Paris and teaches at the University of Applied Arts in Vienna.

Trained in photography, Damien Bénéteau transposes the process of capturing light into sculpture. In his works the juxtaposition of objects, movement and light serves to produce two types of sculpture, molding the field of vision as well as his materials. Drawing on minimal sculpture, Op art and neo-opticalism, he borrows from these movements: geometric aesthetics, sobriety and the appearance of simplicity. Thus, his monochromatic mobiles display deliberate neutrality and a certain mechanical coolness, compensated by the strange depth of the surface and the structures’ elegance. Their swinging or oscillating, cyclical movement combines with internal LED assemblies to transform these sculptures, which are hermetically black, into veritable visual events in infinity of hues. Seeking visual effects rather than illusions, Damien Bénéteau employs his own sculptural vocabulary, made of gaps, shadows, ellipses and halos, metamorphosing the way the spectator looks at his works. Sculpting light enables Damien Bénéteau to reveal hidden corners within spaces, to invert contrasts to bring new forms to life, add tints and colour gradients, or redefine reliefs and depths. The dark, matt black surface contrasts with the dense light of the white LEDs, producing retinal persistence and aura effects. Damien Bénéteau thereby performs the double operation, both revealing and fixing these intangible impressions which largely determine an object's visibility. The hypnotic repetition and continuous play of 'revealed then hidden' lull spectators into a state of contemplation, leading them to meditate on the notion of time. By mimicking such magical objects as celestial bodies, pendulums and metronomes, these mobiles in perpetual motion subtly organise a passage from the historical present, suspended during the encounter with the work, to the present of astronomical time, evocative of the macrocosm. Damien Bénéteau’s thought-provoking sculptures softly point towards the inexorable passage of time and an awareness of its eternal return. Moreover, the sculptor boldly plays on the double meaning of 'gravity', apposing the law of physics with its affective interpretation, the momentum of nature with the solemnity which it imposes.

Beijing-based artist Zheng Lu (b. 1978, Inner Mongolia) is best known for his gravity-defying sculptures of splashes of water captured in midair. Pulsing with movement, their fluid, animated forms are charged with the energy (qi) of the universe, belying their steel composite. Large works are installed in public spaces around the world, including a monumental work at the National Centre for Performing Arts in Beijing. In October 2023, Sundaram Tagore Gallery installed a twenty-foot-tall steel sculpture, titled Undercurrent, adjacent to the United Nations in New York and earlier in the same year, a large work in the public plaza of a luxury residential complex on the island of Jersey. The artist is currently at work on a large outdoor sculpture for the global headquarters of the Elanco corporation in Indiana. Zheng’s sculpture is influenced by his study of traditional Chinese philosophy, and often calligraphy, an art form he practiced growing up in a literary family. Zheng is known for using language as a pictorial element, often composing stainless-steel sculptures out of thousands of Chinese characters derived from texts and poems of historical significance. With recent work, the artist continues to explore water, long a subject of fascination. Early Chinese philosophers used physical principles of the natural world to better understand the mysteries of the cosmos and the nature of man. Water, a shapeless medium that can be potent or supple, dynamic or latent, can take on abundant meaning and serve as a tangible model embedded with ideas. For Zheng, it is not only an element essential to existence, but a substance symbolic of change, self-reflection and the passage of time. Zheng Lu graduated from Lu Xun Fine Art Academy, Shenyang, with a Bachelor of Fine Arts degree in sculpture in 2003. In 2007, he completed a Master of Fine Arts degree in sculpture from the Central Academy of Fine Art, Beijing, while also attending an advanced study program at the École Nationale Supérieure des Beaux-arts in Paris. The artist has participated in numerous museum exhibitions in China and abroad, including at the National Museum of China, Beijing; Long Museum, Shanghai, and Shanghai Duolun Museum of Modern Art; Museum on the Seam, Jerusalem; Musée Océanographique, Monaco; and Musée Maillol, Paris. In 2015, the artist’s work was featured in a solo exhibition at the Museum of Contemporary Art Taipei, one of the leading institutions in the region. In 2023, his work was featured at Asia Society Texas in Houston in the exhibition Summoning Memories: Art Beyond Chinese Traditions.

Refik Anadol (b. 1985, Istanbul, Turkey) is an internationally renowned media artist, director, and pioneer in the aesthetics of machine intelligence. He currently resides in Los Angeles, California, where he owns and operates Refik Anadol Studio and RAS LAB, the Studio’s research practice centered around discovering and developing trailblazing approaches to data narratives. Anadol is also teaching at UCLA’s Department of Design Media Arts from which he obtained his Master of Fine Arts. Anadol’s body of work addresses the challenges, and the possibilities, that ubiquitous computing has imposed on humanity, and what it means to be a human in the age of AI. He explores how the perception and experience of time and space are radically changing now that machines dominate our everyday lives. Anadol is intrigued by the ways in which the digital age and machine intelligence allow for a new aesthetic technique to create enriched immersive environments that offer a dynamic perception of space. By proposing the possibility of “post-digital architecture,” Anadol invites his audience to imagine alternative realities by redefining the functionalities of both interior and exterior architectural elements. He tackles this by moving beyond the integration of media into built forms and translating the logic of a new media technology into art and design. Residing at the crossroads of art, science, and technology, Anadol’s site-specific three-dimensional data sculptures and paintings, live audio/visual performances, and immersive installations take varied virtual and physical forms. Entire buildings come to life, floors, walls, and ceilings disappear into infinity, breathtaking aesthetics take shape from large swaths of data, and what was once invisible to the human eye becomes visible, offering the audience a new perspective on, and narrative of their worlds. The primary thread that runs throughout Anadol’s groundbreaking visualizations of the unseen world is data. For Unsupervised at the Museum of Modern Art, New York, Anadol posed an alternate understanding of modern art by transforming the metadata of MoMA’s vast collection into a work that continuously generates new forms in real-time. For Quantum Memories at the National Gallery of Victoria, 200 million photos of Earth and its landscapes, oceans and atmosphere were used to visualize an alternate reality of nature. For Sense of Space at the 17th International Architecture Exhibition – La Biennale di Venezia – approximately 70 terabytes of multimodal MRI data, including structural, diffusion (DTI) and functional (fMRI) scans of people ranging from birth to nonagenarians was used to design the human brain-inspired artwork. Archival photographic data of our universe from the archives of NASA/JPL was the driving force behind Machine Memoirs: Space, Istanbul’s most visited exhibition ever. Machine Hallucination: NYC harnessed 113 million publicly available images of New York City to envision the near future of a storied city. For WDCH Dreams, 100 years of the Los Angeles Philharmonic’s digital archives were tapped to inspire the visuals projected onto Frank Gehry’s iconic building. Oakland’s Sense of Place used real-time environmental data such as wind, temperature, and humidity as well as invisible communication signals from Bluetooth, Wifi and LTE to inform the work. At Berlin’s Latent Being, the visitors interacted with the artwork and themselves provided real-time data for the artificial thinking process. Charlotte Airport’s Interconnected, Anadol transformed real-time airport statistics such as arrivals/departures, baggage handling systems and ground shuttle transportation into an ever-changing suite of abstract form, color, and simulated texture. Refik Anadol ’s global projects have received a number of awards and prizes including the Lorenzo il Magnifico Lifetime Achievement Award for New Media Art, Microsoft Research’s Best Vision Award, iF Gold Award, D&AD Pencil Award, German Design Award, UCLA Art+Architecture Moss Award, Columbia University’s Breakthrough in Storytelling Award, University of California Institute for Research in the Arts Award, SEGD Global Design Award, and Google’s Artists and Machine Intelligence Artist Residency Award. Anadol’s site-specific audio/visual performances have been featured at iconic landmarks, museums and festivals worldwide, such as the 17th International Architecture Exhibition – La Biennale di Venezia, The Museum of Modern Art (New York), The Centre Pompidou, Pinakothek der Moderne, EMMA Museum, Art Basel, Haus der elektronischen, Kunsthalle Praha, Palazzo Strozzi, Casa Batlló, National Gallery of Victoria, Walt Disney Concert Hall, Hammer Museum, Dongdaemun Design Plaza, Artechouse, The Portland Building, Daejeon Museum of Art, Florence Biennale, Art Basel, OFFF Festival, International Digital Arts Biennial Montreal, Ars Electronica Festival , l’Usine | Genève, Arc De Triomf, Zollverein | SANAA’s School of Design Building, santralistanbul Contemporary Art Center, Outdoor Vision Festival, Istanbul Design Biennial, Sydney City Art, and Lichtrouten, among many others. Refik Anadol Studio, an early adopter of blockchain technology, has utilized NFT sales to raise over $5 million U.S. dollars for charitable organizations including St. Jude Children’s Research Hospital, The Alzheimer’s Foundation and UNICEF. Machine Hallucinations — Space: Metaverse, a physical exhibition in Hong Kong and correlating NFT collection, brought together the studio’s richly diverse works to the Metaverse. Presented in collaboration with Sotheby’s, the NFT collection contained yet another groundbreaking approach to media arts by presenting the first immersive NFT. Living Architecture: Casa Batlló, inspired by Antoni Gaudi’s building in Barcelona, Spain, became the first artwork from the studio to be auctioned by Christie’s. The piece was displayed on a giant media screen in New York’s iconic Rockefeller Plaza with a simultaneous live projection mapping performance on the actual facade of Casa Batlló which was viewed by an enormous crowd of nearly 50,000 people. As the only NFT offered during Christie’s 21st Century Evening Sale which also included physical works by Banksy, Gerhard Richter, and Jeff Koons, among others, Living Architecture: Casa Batlló set records for the next generation of young artists. Refik Anadol Studio comprises designers, architects, data scientists, and researchers from diverse professional and personal backgrounds, embracing principles of inclusion and equity throughout every stage of production. Studio members originate from 10 different countries and are collectively fluent in 15 languages. The Studio’s internship program also demonstrates a strong commitment to mentoring young people from a variety of personal experiences, values, and world views. A pioneer in his field, and the first to use artificial intelligence in a public artwork, Anadol has partnered with teams at Google, Microsoft, NVIDIA, NASA/JPL, Intel, IBM, Siemens, Epson, MIT, UCLA, Harvard University, Imperial College, Stanford University, and UCSF, to apply the latest, cutting-edge science, research and technologies to his work.

Born in Ankara in 1985, Sonel completed his undergraduate education at Hacettepe University, Faculty of Fine Arts, Graphic Design Department with an honorary degree. In 2009, he succeeded in bringing to life his childhood interest in street art, by co-founding the street art collective (KÜF Project). The guerrilla street art actions they carried out with the collective between 2009 and 2014 were the subject of many news bulletins in the mainstream media. In 2014, he was accepted to the Sculpture Master’s Program at Hacettepe University Fine Arts Institute. Moving his workshop to Izmir-Darağaç in 2017, he continued to work both individually and with the neighborhood art collective. Sonel's works have been exhibited in many national and international organizations such as Berlin Art Week, Contemporary Istanbul, Sónar Festival, 48 Stunden Neukölln. He organized workshops on street art in many universities of Turkey, was invited to panels as a speaker, and directed sessions. He introduced the first semi-digital Mural works in Turkey to the public audience at the mural festivals held in Istanbul, Ankara and Izmir. He still continues his research on the meeting of new media art with street art. In 2022, he held his first solo exhibition titled "One and Zero Makes Two" at the Anna Laudel gallery in Istanbul. Since 2020, he has been continuing his art and design productions in his workshop in Ankara.

Tyler Hobbs is a visual artist from Austin, Texas who works primarily with algorithms, plotters, and paint. His artwork focuses on computational aesthetics, how they are shaped by the biases of modern computer hardware and software, and how they relate to and interact with the natural world around us. Tyler develops and programs custom algorithms that are used to generate visual imagery. Often, these strike a balance between the cold, hard structure that computers excel at, and the messy, organic chaos we can observe in the natural world around us. Hobbs’ work has been exhibited internationally, with recent solo exhibitions at Unit in London and Pace Gallery in New York City. His algorithmic art is among the most sought-after by digital art collectors and has been included in numerous auctions by leading auction houses such as Christie’s, Phillips, and Sotheby’s. Notable public institutions holding his work include the Los Angeles County Museum of Art and the San Francisco Museum of Modern Art.

Hugo Johnson is an Irish 3D artist and art director based in London. His strength lies in his ability to leverage experimental 3D practices to create visually striking designs and intricate, hypnotic visual narratives — playing with the notion of time to create infinite moments captured within a loop. Over the course of his career, Hugo has collaborated with leading brands and has had his work exhibited around the world, including in London, Tokyo, Paris, and South Korea.

My work is an attempt to find emergence in the visual thought process. I use robotic systems and agentic AI to deconstruct and reconstruct the act of painting with a focus on the moment an image crosses between the threshold of information and imagination. After more than two decades of experimenting, I am almost at the conclusion that there is no difference between human and synthetic creativity.

Zachary Lieberman is an artist, researcher, and educator with a simple goal: he wants you surprised. In his work, he creates performances and installations that take human gesture as input and amplify them in different ways -- making drawings come to life, imagining what the voice might look like if we could see it, transforming people's silhouettes into music. He's been listed as one of Fast Company's Most Creative People and his projects have won the Golden Nica from Ars Electronica, Interactive Design of the Year from Design Museum London as well as listed in Time Magazine's Best Inventions of the Year. He creates artwork through writing software and is a co-creator of openFrameworks, an open source C++ toolkit for creative coding and helped co-found the School for Poetic Computation, a school examining the lyrical possibilities of code.

As an artist, I strive to bridge the gap between past and present, tradition and modernity. My work is deeply inspired by the aesthetics of Ukiyo-e, the traditional Japanese art form that captured fleeting moments of beauty, yet I reinterpret it through a contemporary lens. By blending classical compositions with minimalist and geometric elements, I seek to create a dialogue between history and the present, making traditional imagery relevant to modern audiences. In my compositions, space plays a crucial role. The balance of fullness and emptiness, a principle rooted in traditional Japanese aesthetics, is accentuated by minimalist backdrops. The interplay of soft, flowing kimonos with stark, linear architectural forms creates contrast and tension, evoking both nostalgia and modern sensibility. Through this juxtaposition, I invite viewers to reconsider the relationship between past and present, tradition and innovation. Ultimately, my work seeks to dissolve temporal boundaries. By reimagining Edo-period aesthetics within a contemporary framework, I hope to offer a fresh perspective on cultural heritage—one that honors the past while embracing the evolving nature of beauty in the modern world.

Ivona Tau’s work is driven by the “metaphysical act of imagination” – worlds to get lost in. Aged 18, she became fascinated by photography as a way to observe the world and capture her changing surroundings. Tau started with her grandfather’s eighties Lomo LC-A lomography camera, allowing her to play with colour and texture, already going down the path of abstraction and the surreal. Growing up in Vilnius, and studying Mathematics in Warsaw, she witnessed the cities’ shift from a post-Soviet world to a Western and capitalist one. Today, the combination of cityscapes as utopias and/or dystopias is at the centre of Tau’s practice. Later in life, she decided to combine her mathematical and computer knowledge with her taste for painting and photography – this practice of assemblage of medium, or merging of forms, enables Tau to create with wonder as she navigates the possibilities of technology. Interested in combining her surroundings and personal history into a computer-generated visuality, works such as Synthetic Still Lives, made with AI, feature objects found in her flat. For Tau, AI “allows seeing the world in a different way, beyond traditional conceptions.” Using different kinds of AIs, she trains her own models, turning them into personal tools – as individual as a painter’s stroke. Tau creates and breaks her compositions, playing with what the most recent technology has to offer to art making. This also enables her to revisit her own photographic archive – from her numerous meditative walks in the cities she lives in, such as in her series Blue Hours, 2020 – 2021, which explores the notions of solitude and absence in urban environments. Tau’s visual language blends futuristic aesthetics and cyber-punk culture. Oscillating between the hyper-realistic and the hyper-surrealist, the viewer becomes transfixed by the composition. Illusion and fantasy are also key sources of inspiration for the artist, such as in the work of Man Ray (1890 – 1976) and Dora Maar (1907 – 1977), through to the contemporary experimental photography of Max Passadore, the cinema of David Lynch (b. 1946), and the colours of William Eggleston (b. 1939) and David LaChapelle (b. 1963). In darkrooms, Tau continues to experiment with her practice, using photography to shape new realities. More recently, Tau started to combine AI with long-form generative art – art that involves a coded random process – enabling the viewer to become a participant, creating their own model output. Interested in interactiveness, Tau aspires to create more immersive pieces. A mixed-media artist or coder artist, technology enables Tau to explore ideas of memory and imagination.

Based in Paris, William Mapan (b.1988) is a pioneer in the digital art space. With a background in software development, he combines computer science with his passion for pigment, light and texture. One of Mapan’s most notable works is his Dragons series (2021), in which he shared a portion of the works’ ownership with his collectors during the process of creation. He often combines contrasting ideas which juxtapose one another. In Dragons, he highlighted the symbolism of the mythical beast that represents wisdom in China, but is often associated with destruction and decay in Western culture. Frequently alternating between different mediums, Mapan relies on creativity, chance and the exact shades of lightness within each of the works. In the Anticyclone series, he capitalised on the contrasts between dark and light to produce works focused on the erratic patterns of weather phenomena. Notably, Mapan codes, creates, and teaches at Gobelins, l’école de l’image in Paris.

Emily Xie is a visual artist living in NYC. She works with code and computation to create lifelike textures and forms. She draws inspiration from physical media such as textiles, collage, and wallpaper, and examines them within a technological context. Her digital work explores how diverse materials and patterns intermix to create cohesive visuals infused with themes of mythology, memory, tradition, and heritage. Xie's generative systems often navigate many delicate balances: the interplays between chance versus control, the organic versus the systematic, the traditional versus the modern, and the abstract versus the representational. Her algorithms highlight the interplay between the human touch and computational processes, incorporating skeuomorphism to challenge material perceptions. In particular, Xie emphasizes the intersection of computation and textile arts, often referencing the historical and sensory richness of fabrics and mixed media. Xie's creative coding work is collected and shown internationally. Recently, she has exhibited at Untitled Art Fair, the United Nations Headquarters, Singapore ArtScience Museum, Kunsthalle Zürich, Unit London, the Armory Show, Bright Moments, the StandardVision Artist Showcase throughout the city of Los Angeles. Prior to pursuing art full-time, Emily built a career as a software engineer while exploring and teaching herself creative coding on the side. She worked within various programming domains including devtooling, visualization, and machine learning.

Botto is a decentralized autonomous artist.Botto was brought to life on October 8, 2021. As a machine, Botto creates artworks in perpetuity. A community of humans train Botto, impacting the theme, style, and imagery of each creation. To date, over fifteen thousand people have contributed to Botto’s development. The artist’s award-winning practice has been exhibited internationally, but has also called into question our notions of agency, authorship and what it means to be human. Botto is a novel exploration of machine creativity, and an experiment in community, agency and value distribution.

Born 1975 in London to Chinese parents, contemporary multi-media artist Gordon Cheung has developed an innovative approach to making art, which blurs virtual and actual reality to reflect on the existential questions of what it means to be human in civilisations with histories written by victors. Cheung raises questions and critiques the effects of global capitalism, its underlying mechanisms of power on our perception of identity, territory and sense of belonging. These narratives are refracted through the prisms of culture, mythology, religion, and politics into dreamlike spaces of urban surreal worlds that are rooted in his in-between identity. Cheung graduated with a Bachelor of Fine Arts in Painting in 1998 from Central Saint Martins College of Art and Design in London and earned his Masters of Fine Arts in 2001 from the Royal College of Art in London. Select solo shows include Jack Shainman Gallery in New York, The Four Horsemen of the Apocalypse, The New Art Gallery Walsall, Walsall UK, The Light that Burns Twice as Bright, Cristea Gallery, London UK, Here Be Dragons, Nottingham Castle Museum and Art Gallery, Nottingham, UK and New Order Vanitas, Ann Norton Sculpture Gardens, West Palm Beach, FL, USA. His works are held in the collections of the Museum of Modern Art in New York, Hirshhorn Museum in Washington, D.C., the Whitworth Art Museum in Manchester, Royal College of Art in London, and the British Museum, amongst others. He lives and works in London.