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Still Image
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Sarah Meyohas
Sarah Meyohas (b. 1991, New York) is a conceptual artist and technologist whose practice provides an intelligible visual language to articulate the complex operations that govern our world. Notable projects include Bitchcoin (2015), Infinite Petals (2025), and the Interferences (2021–).
Her filmography includes CLOUD OF PETALS (2017) and MEDUSA (2024). She was also an executive producer for THE BRUTALIST (2024). Her work has been collected and exhibited at major institutions such as the Centre Pompidou in Paris, the ICA in London, and the New Museum in New York. She is represented by Marianne Boesky Gallery as well as the United Talent Agency for her work in film.
Meyohas currently invests through Bluebirds Capital and is a founding advisor to Sita.Bio. She is a co-founder of the event space, 102 Franklin, and co-owner of the bar, Honey’s. -
Untitled
Pastel on paper132.1 x 96.5 cm
52 x 38 in
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William Mapan
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.
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Terrain (non) glissant
Algorithmic drawing rendered by plotter pen30 x 24 cm
11 3/4 x 9 1/2 in
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ThankYouX
ThankYouX, a painter from Los Angeles, California, began his artistic career in 2009. Starting as an acclaimed yet anonymous street artist, over the last fifteen years, his work has evolved into experimentation with geometric forms and layered abstraction that is now internationally recognized.
As an enthusiastic proponent of emerging technology, ThankYouX expanded his artistic practice in 2020, when he started exploring and creating digital blockchain-based artwork. He quickly became one of the leaders in the space, bridging the gap between traditional art and Web 3.0.
Notable moments include his solo show ‘Inertia’ at Sotheby’s gallery in LA, a collaboration with Hans Zimmer, inclusion of his work in institutions like the The Museum of the Future in Dubai and The Bechtler Museum of Modern Art, partnerships with major auction houses as both an artist and curator, and his groundbreaking solo project, “State Of The Art” which blends digital and physical art in ways that push both mediums forward.
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Harmony >< Tension
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Philipp Frank
Philipp Frank, a visionary land-light artist, and photographer from Germany, merges nature, technology, and emotion to craft immersive spaces and captivating imagery that defy conventional boundaries. His innovative creations challenge viewers to rethink their perceptions of space and time, drawing inspiration from natural phenomena, science, and philosophy. With a background in graffiti art and a Master's degree in Communication Design, Frank's journey has evolved into a deep exploration of the interconnectedness of nature and the human experience. Through his evocative works, he invites audiences on a transformative journey of introspection and discovery, infusing each piece with a profound sense of soulful expression inspired by Kahlil Gibran's belief that "Work is love made visible."
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Mykonos Lightcodes #11
Projection Mapping at Scorpios Mykonos
Unique signed fine art print accompanied by matching digital companion (NFT).50 x 70 cm
19 3/4 x 27 1/2 in
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Fahad Karim
Fahad Karim (b. 1990) is a South Asian new media artist who has lived a nomad’s life across the globe, moving between Switzerland, India, Bangladesh, Egypt, the Philippines, Mexico, and the US.
Using technology as his medium, Fahad builds systems to explore and examine human culture in a dynamic, modern context. His work often reimagines the traditional through automation, ranging across themes such as architecture, folklore, our relationship with technology, and the passage of time. Fahad employs a continuously evolving set of tools in his practice, including self-developed code-based systems, generative A.I., machine plotters, and blockchains.
Fahad received his formal education in computer science at Cornell University. His work has been collected and exhibited internationally, including at Sotheby's, Christie’s London, Zona Maco (CDMX), Art Blocks Curated (Season 8), and Bright Moments Gallery (CDMX & Venice). He was shortlisted for the Lumen Prize 2023 for his Aztec-inspired project Pohualli.
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Searching For Answers on Jupiter
This fully on-chain (Ethereum L1), code-based artwork contains an entire generative algorithm where randomness is seeded by time. This means that any given visual is specific to the moment (~10 second window) and will never show up again. It also opens the possibility for unique, synchronized generative experiences: if multiple people view this artwork at the same time they’ll get synced and will follow the same meandering journey across the planet.
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Justin Aversano
Justin Aversano stands as a beacon in modern art, known for his profound storytelling through the lens. His groundbreaking series, "Twin Flames," has captivated audiences by not only showcasing the unique bond between twins but also weaving a tapestry of human stories that resonate universally. Through this work, Aversano delves into the complexities of identity, kinship, and the shared human experience.
Aversano’s artistic journey transcends traditional photography; he's a pioneer in the digital art revolution. By embracing blockchain technology, he has transformed how art is perceived and owned, introducing his creations as NFTs (Non-Fungible Tokens). This innovation has not only expanded his reach but has also redefined the dynamics between artist and collector, making art ownership more accessible and interactive.
His commitment extends beyond his personal creations. Aversano is a catalyst for community and dialogue within the art world. He actively participates in collaborative projects, exhibitions, and workshops, fostering an environment where art becomes a medium for connection and cultural exchange. His influence is seen in his efforts to blend technology with traditional art forms, challenging and inspiring how we envision the future of art.
Aversano’s work is a narrative tapestry, exploring themes of love, loss, and the intricate layers of human relationships. His art prompts reflection, encourages discussion, and invites viewers into a dialogue about what it means to be connected in an increasingly digital world. Through his lens, he captures not just images but moments in time that speak to the heart of the human experience.
As an artist, curator, and advocate, Justin Aversano's legacy is one of innovation, empathy, and a relentless pursuit to push the boundaries of art, making him a pivotal figure in both the analog and digital art landscapes.
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Moments of the Unknown. 115
Moments of the Unknown is a 10-second Super-8 portrait series every day for a year on all 7 continentsSuper-8 filmAspect Ratio: 4:3
Resolution: 2880 x 2160
File Type: H.264 Codec / MP4
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Adam Martinakis
Born in Lubań, Poland in 1972 and is of Polish and Greek descent.
Moved to Athens, Greece in 1982.
Studied Interior Architecture, Decorative Arts and Design in Athens.
Had been occupied with Interior Design, Graphic Design, Ceramic Design and 3d visualisation,
as an artist and tutor.
Since the year 2000, is working and experimenting on artistic Computer-generated visual media
(3d digital image/rendering - animation, digital sculpture, digital video, new media),
painting and photography.
Member of the Greek Chamber of Fine Arts.
Lives and works in Greece, Poland and the UK.
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Natural Lines of Interaction
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Moving Image
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Sofia Crespo
Sofia Crespo is an Argentine artist based in Lisbon, Portugal, whose practice explores the convergence of artificial intelligence and biological systems. Working as part of the artistic duo Entangled Others with Norwegian artist Feileacan Kirkbride McCormick, she investigates how organic life and artificial mechanisms simulate and evolve each other.Her work examines humanity's evolving relationship with technology across time, drawing connections between historical innovations like microscopes and cameras that transformed our understanding of reality, to contemporary neural networks that reshape how we process and interpret complex patterns. This technological lineage informs projects like Neural Zoo (2018-2020) and Structures of Being (2024), which position machine learning as an extension of natural processes, drawing parallels between AI image formation and biological pattern recognition.Her work has been exhibited globally at institutions including the Victoria & Albert Museum, London, and Times Square, New York City. In 2022, Entangled Others' piece Swim was acquired by the Buffalo AKG Art Museum for its permanent collection. Crespo's contributions to the field have been recognized with the AI Newcomer Award by the German Informatics Society, and she frequently shares her insights through lectures at institutions like MIT and the Oxford Artificial Intelligence Society. -
temporally uncaptured
Neural networks, cyanotype prints, digital video
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Rebecca Allen
Rebecca Allen is an internationally recognized artist inspired by the aesthetics of motion, the study of perception and behavior and the potential of advanced technology. From the mid 1970’s, Allen was a rare female artist working in the early stages of computer art and digital technology. Her pioneering artwork, which spans five decades and utilizes various forms of digital media, explores ideas around physicality and virtuality, nature and illusion, the body and the mind, and what it means to be human as technology redefines our sense of reality and identity.
With degrees from Rhode Island School of Design and Massachusetts Institute of Technology, Rebecca moves fluidly between artist studio and research lab, using her research to inform her art. Though widely recognized now as a contemporary visual arts medium, Allen was one of the first artists to utilize the computer as an artistic tool to make art involving human motion simulation, AI and Artificial Life algorithms and other generative techniques.
Allen’s work is exhibited internationally and is part of permanent collections including, Whitney Museum of American Art, Los Angeles County Museum of Art, Museum of Modern Art (NY), Centre Georges Pompidou and Zabludowicz Collections. Previous collaborators include artists such as Kraftwerk, Mark Mothersbaugh (Devo), Peter Gabriel, Carter Burwell, Twyla Tharp, and Nam June Paik.
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The Observer
HD Video with audio
Duration: 13:30 Continuous Loop
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Ivona Tau
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.
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Untitled
"I wish I could tell you about the field fares this October is a multichannel video installation that continues my long term exploration of my grandfather’s archival photography and 8mm footage. The project began two years ago when I attempted to run his original films on a still functioning projector from the 1960s. Watching black and white frames flicker into motion on the wall felt almost like discovering cinema for the first time. The simple magic of movement emerging from still images became the emotional and conceptual starting point of this work.
As I immersed myself in the archive, I became a visitor to my grandparents’ lives long before I was born. They were young, often younger than I am now, living modestly under Soviet occupation. The footage shows small joys: walks, gatherings, quiet domestic moments. Political tension remains outside the frame, yet it silently shapes every image. I found myself wishing I could speak to them across time, show them the world I inhabit today, and tell them how their story unfolded. I imagine their laughter, their confusion, and their disbelief at the reality of artificial intelligence and global connectivity.
The installation stages a speculative dialogue between my deepfake avatar and imagined versions of my grandparents. Using curated subsets of their photographs and films, I trained several DreamBooth and LoRA models, sometimes merging identity based models of myself with models derived from family members and era specific imagery. Rather than directing the system through elaborate prompts, I shaped the models themselves and interacted with them using minimal language. This allowed unexpected details to surface from the data: a curtain pattern that mirrors their apartment, a scarf that feels uncannily familiar. These visual accidents became emotional anchors.
The resulting world is not a reconstruction of the past, but a romanticized alternative history. It asks what it might mean for my grandparents to relive their youth with the knowledge that political freedom would eventually arrive, while also recognizing that freedom is never guaranteed. Today I live in a world of technological abundance, travel, and access to tools they could not have imagined. Yet new fears shadow this progress: geopolitical instability near our borders, environmental collapse, and the fragility of democratic values. With greater possibility comes greater anxiety about losing it all.
AI becomes the ideal medium because it allows me to extract what I think of as the essence of the archive. The machine does not reproduce memory faithfully; it distills, hallucinates, and reinterprets. In doing so, it mirrors the way history is carried forward through fragments, longing, and imagination." - Ivona Tau
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Jang Yeonjeong
Artist Statement:
My practice explores the notion of the digital sublime through speculative botanical forms that exist beyond natural ecology. Rather than representing nature I construct environments where organic logic remains but biological function has ceased. What appears as flora is not alive not growing, and not decaying—it is a residual structure suspended in a state of continuous presence.
Digital Sublime Flora is an ongoing series that investigates how form, rhythm, and sensation persist after systems of life collapse or become obsolete. These works do not depict plants as symbols of vitality or regeneration. Instead, they examine what remains when nature is translated into data: surface without metabolism movement without evolution and complexity without hierarchy.
Using generative processes and computational motion, I build digital organisms that reject narrative progression. There is no blooming, no climax, and no resolution. Motion functions as subtle vibration rather than transformation—suggesting endurance rather than growth. Each form exists autonomously, yet within a shared spatial field where no single element dominates. This suspended equilibrium invites prolonged attention, encouraging viewers to remain within the work rather than move through it.
The aesthetic language of my work draws from scientific imaging, archival systems, and the visual logic of digital simulation. Translucent membranes, filament-like structures, and particle-based surfaces recall biological detail, while simultaneously revealing their artificial construction. These forms behave as digital specimens—archived not to preserve life, but to document its afterimage.
Video is a crucial medium in this practice. Time is not used to advance a story, but to hold a condition. Through slow temporal shifts and continuous motion the work becomes spatial rather than narrative allowing it to function as an immersive visual field suitable for large-scale screens and architectural contexts.
At its core, my practice asks how we perceive sublimity in an era where nature is no longer untouched, and where digital systems increasingly mediate our experience of the organic world. Digital Sublime Flora proposes a quiet restrained form of sublimity—one rooted not in spectacle but in sustained presence, stillness, and the tension between memory and simulation.
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Digital Sublime Flora: Frozen Bloom II
4K UHD VideoResolution: 2160 × 3840 (9:16)
Duration: 40 seconds
Frame Rate: 30fps
Codec: H.264 (MP4)
Audio: Stereo AAC, 48kHz
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Aiminath Sulthana
Artist Statement:
My practice is driven by the translation of internal visions into the physical realm, specifically focusing on the intersection of biological grace and computational logic. For years, I have been captivated by a recurring vision: an avian form navigating the boundary between the seen and the unseen. This ‘Birds Blade’ concept serves as a meditation on the nature of movement—where flight is not a continuous path, but a series of rhythmic transitions through the fabric of space and time.
In my recent work, I utilise light as a sculptural medium to explore these themes of ‘quantum’ presence. By integrating custom-coded GLSL fragments with sophisticated spatial mapping systems, I have developed a way to decouple the structural form of an object from its ethereal energy. This dual-layered approach allows me to map two distinct projections: one defining the structural geometry and the second capturing a spectral ‘shine’.
This technical separation is essential to my conceptual goal: portraying a subject that is simultaneously present and absent. The resulting installation creates a visual experience where the subject appears to ‘quantum hop’—disappearing into the shadows only to reappear at high speeds, leaving a ghosted trail of light in its wake. By bypassing traditional rendering constraints in favour of algorithmic light modulation, I am able to achieve a fluid, organic motion that feels more like a captured memory than a digital simulation.
Ultimately, my work invites the audience to consider their own perception of reality. By mapping these deep-seated visions onto physical space, I aim to bridge the gap between the internal imagination and the visceral world. We are left to wonder: are we seeing a continuous flight, or are we merely witnessing the moments where a being chooses to manifest in our dimension?
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Birds Blade
Digital Light Installation
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Irem Bugdayci
Irem is a London-based artist whose interactive installations and moving image works explore intelligence across biological and artificial systems. By creating encounters with machines and drawing on multi-species evolutionary history, her work opens up new ways of being with the non-human minds that have always surrounded us, and those now rapidly emerging.This inquiry began with Luna, a robotic installation that uses eye tracking to follow the viewer's gaze. When audiences anthropomorphised the machine, forming intimate bonds with what they knew to be artificial, the work exposed the deep frameworks that shape how we perceive, relate, and make meaning, patterns that become visible when reflected back through machines.Recent work continues this investigation across different cognitive processes and timescales. Priors explores what happens when humans and machines co-perceive, co-sensing and making meaning together in real time. Inference lets people interact with a machine's memory, making visible the processes of recall and association that shape both artificial and biological thought. Cambrian Stream traces intelligence back to its evolutionary origins, creating a simulation that celebrates the diverse manifestations of mind across millions of years and the co-evolutionary processes that shaped them.Her work has been exhibited at the Barbican Centre, Ars Electronica, Istanbul Airport, Scorpios Mykonos (with HOFA Gallery), and Phillips London, among others. She holds an MA specialising in Robotics and Human-Computer Interaction from UCL's Bartlett School of Architecture, where she received the Best Thesis Prize, and a BA with honours in Art History and Architecture from Tufts University. Her research has been published with SIGGRAPH and IEEE ICRA. -
Inference
AI-based, generative moving image, developed through custom software and training workflows
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Nicolas Sassoon
Nicolas Sassoon is a Franco-Canadian artist using early computer graphics to create a wide array of pixelated forms & figures, moiré patterns & architectural structures. His work has long been concerned with the tensions between the pixel and the screen, reflecting on their entanglement and materiality by constraining himself to experiment with pixelated patterns and figures as his sole visual language. This focus on early computer graphics is driven by the sculptural, material and pictorial qualities of this imagery, as well as its limitations and its poetics. A basis of Sassoon’s research centres on digital animations created using a moiré patterning technique; consisting in the overlap of two images to generate optical illusions. This body of work often features abstract animations informed by atmospheric and natural forces. The animations appear on screen as endless hypnotic surfaces, similar to all-over paintings or wallpapers in their composition. The optical properties of these works generate tensions and oscillations in the perception of depth and flatness within the space of the screen. Sassoon’s work also manifests in physical space as sculptures, prints, and monumental projections scaled to the architecture in context, generating experiences adjusted to the human body. At large, Sassoon’s practice relates to many histories of abstraction in painting, optical art, moving image and computer graphics.
Nicolas Sassoon currently lives between Montreal, Canada and Biarritz, France. He is a founder of the collaborative projects SIGNALS and WALLPAPERS. His work has been exhibited at The Whitney Museum of American Art (US), Eyebeam (US), Current Museum (US), Vancouver Art Gallery (CA), Plugin ICA (CA), Contemporary Art Gallery (CA), Charles H.Scott Gallery (CA), Western Front (CA), PRETEEN Gallery (MX), Victoria & Albert Museum (UK), the Centre d’Art Bastille (FR), House of Electronic Arts Basel (SW), Kunsthalle Langenthal (SW), Arti et Amicitiae (NL), MU Eindhoven (NL) , Today Art Museum (CN), Chronus art Center (CN), the Berlin Fashion Week (DE) and the New-York Fashion Week (US).
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DOOR 62
Digital animations, 64 frames, 32 colors2160x3840 pixels
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Experiential
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Mario Klingemann
Artist Statement:
I’m an artist and a skeptic with a curious mind. My preferred tools are neural networks, code and algorithms. My interests are manifold and in constant evolution, involving artificial intelligence, deep learning, generative and evolutionary art, glitch art, data classification and visualization or robotic installations. If there is one common denominator it’s my desire to understand, question and subvert the inner workings of systems of any kind. I also have a deep interest in human perception and aesthetic theory.
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Appropriate Response
120 Letter split-flap display, kneeler, computer running
custom trained GPT-2 model227 × 179 × 200 cm
Edition of 3 + 1 AP
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Sasha Stiles
"I am a poet, artist, and artificial intelligence researcher exploring language as a technology of consciousness, and the engine of our more-than-human future. My work fuses ancient lineages with AI, blockchain, and digital media to create immersive, multi-sensory poetics — large-scale installations, intimate live performances, cinematic projections, sonic environments, generative encounters, VR exhibitions, calligraphy, typography, hybrid poem-sculptures, traditional book arts, and beyond — that embody the complexities of being human in an increasingly posthuman age.
I am fascinated by poetry as a dynamic system, an enduring data storage mechanism that encodes memory, emotion, and wisdom across space and time. Through research-based and transdisciplinary projects, I investigate how linguistic innovation — from the birth of oral tradition to the rise of literacy to the advent of generative language models — influences perception and understanding, transforming how we think, feel, and create. As a first-generation Kalmyk-American with nomadic ancestry and a diasporic tongue, I am especially attuned to the tension between presence and obsolescence, continuity and change. This informs an elegiac point of view that is both primal and speculative: language as inheritance and transcendence; voice as a lingering artifact of flesh and blood in a reality of virtual presence and spectral signals.
Since 2018, I’ve pioneered a singular approach to generative AI: mentoring bespoke language models on my own writing and research to develop Technelegy, an emergent AI poet and conceptual forerunner of today’s autonomous artists and agents. Our next-gen writer’s toolkit includes purpose-built datasets, intricate promptcraft, Processing codices, blockchain protocols, and a suite of motion graphics and design software — all deployed as conceptual collaborators in shaping the recursive, co-creative interplay between human and machine. Our 2021 book of verse, Technelegy, was praised by Ray Kurzweil and Hans Ulrich Obrist for offering a groundbreaking framework through which to understand AI and our evolving relationship to it. In 2022, a media-rich poem from the collection became the first work of AI literature to be sold at a major auction house (Christie’s), a milestone in the cultural reception of machine-augmented poetics.
My work has been exhibited and performed internationally — from Times Square and Lincoln Center to London’s Outernet, the V&A, Art Basel, and the Jeu de Paume in Paris — demonstrating new possibilities for poetry in the digital era. These works activate the poetic text not just as a literary form, but as a living, immersive experience: poetry that is not merely read, but embodied, encountered, and felt at a visceral level, in dialogue with the multimedia vernacular of contemporary culture.
At its core, my practice is guided by the belief that language is our oldest and most powerful interface — a bridge between minds, bodies, cultures, generations, and now, humans and machines. As we move into an epoch shaped by neural networks and algorithmic agency, I use poetry to explore how the tools we’ve created continue to reshape the story of language itself — how we make sense of our world and our place within it — and how poetic expression can continue to do what it has always done: illuminate the shifting contours of consciousness, authorship, and meaning in times of profound transformation." - Sasha Stiles
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A Living Poem
Immersive, evolving language environment and durational performance
(Courtesy of the Artist & MoMA)
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Krista Kim
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. -
Heart Space
HeartSpace emerges from a fundamental inquiry into what remains irreducibly human in an era of accelerating technological mediation. As our biometric data is increasingly harvested, commodified, and deployed as instruments of surveillance capitalism, the work asks whether the same technologies of bodily capture might be redirected—not toward extraction, but toward communion.
The installation is rooted in Techism, the philosophical movement I founded in 2014, which posits that technology must serve human consciousness rather than subjugate it. Techism draws from the intersection of Eastern contemplative traditions—particularly Japanese Zen—and the media theories of Marshall McLuhan, who understood that every technology extends the human body while simultaneously altering perception. HeartSpace takes this premise literally: the heartbeat, our most primordial rhythm, is extended outward into shared space, transforming the interior body into a collective architectural event.
Central to the work is Tenbeo's Heart Signature technology, which captures each visitor's unique cardiac biometry—a physiological identifier as singular as a fingerprint, yet fundamentally unhackable and non-replicable. Unlike facial recognition or data passwords, the heart signature cannot be stolen, forged, or extracted without the body's living presence. In this, HeartSpace proposes the heartbeat as the last site of authentic sovereignty—a biological proof of identity that resists the logic of algorithmic control.
Yet the work's conceptual weight lies not in individual authentication but in what happens when these sovereign signals converge. As each visitor enters the installation, their heart signature is transmuted into light, color, frequency, and spatial sound. These singular pulses are then dissolved into a unified immersive environment—a living, breathing digital landscape that shifts and evolves in real time according to the collective cardiac rhythm of everyone present. The individual does not disappear; rather, they are held within a larger field of shared resonance. The work stages the paradox at the core of human existence: we are at once irreducibly singular and fundamentally interconnected.
This tension between sovereignty and unity reflects a deeper curatorial concern with what I term conscious architecture—environments designed not merely for aesthetic contemplation but for physiological and psychological transformation. HeartSpace is conceived as a space of healing, drawing from research into coherent heart rhythms, meditative states, and the capacity of synchronized biometric feedback to induce calm, presence, and empathy. The installation does not simply represent connection; it produces it, somatically, in the bodies of those who enter.
In positioning biometric technology as a medium for art rather than control, HeartSpace challenges the prevailing narratives of technological determinism. It insists that the tools currently weaponized against human agency can be reclaimed as instruments of radical tenderness. The heart—ancient, involuntary, and universal—becomes both medium and message: a signal that predates language, transcends culture, and cannot be silenced by code. HeartSpace is ultimately a proposition: that in an age of profound digital alienation, the path back to one another begins not with data, but with pulse.
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Niceaunties
"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." - Niceaunties
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Mirror into Auntieverse
Mirror into Auntieverse, presented at Paris Photo 2025, is an interactive installation that reimagines photography as a living conversation between light, memory, and cultural identity. The work extends my ongoing world-building project, the Auntieverse, into an experimental exploration of reflection and the “auntie love language”, a mode of care expressed through directness, humour, and affection.
The installation is a 19th-century Napoleon III mirror transformed into a sculptural screen. Produced in collaboration with Load Gallery, the installation merges antique craftsmanship with contemporary technology, reimagining the mirror as a living digital surface. Equipped with motion capture technology and a concealed display, it reflects the visitor’s body but replaces their face with that of an auntie from the speculative Auntieverse. After a few seconds, the auntie delivers a familiar, blunt greeting, ranging from “Have you eaten?” to “You look so tired!”.
Motion tracking allows up to two figures to interact simultaneously, each auntie following the contours of the viewer’s movement while retaining her own distinct features and expression. Subtitles appear in English and French.
The work draws upon art historical precedents from Jan van Eyck to Manet and Asian myths in which mirrors are said to reveal the soul. Here, the mirror becomes a living surface of empathy and critique. In the Auntieverse, a recurring saying is that “there is an auntie in all of us,” reflecting the human nature of self-criticism and emotional complexity.
The mirror also playfully references fairy-tale stories such as the evil queen’s mirror in Snow White and the Seven Dwarfs. Where the queen once demanded, “Mirror, mirror on the wall, who is the fairest of them all?”, one of the auntie reflections might instead quip, “You la, you are the fattest of them all!” turning the mythology of vanity into an act of comic self-awareness.Accompanying the installation are aunties’ black-and-white portraits, exhibited and available as limited-edition prints in various frame styles and sizes. Most are presented in a “family wall” format, more informal and accessible, recalling my mother’s studio portraits from the 1970s: small, pocket-sized black-and-white photographs once exchanged as mementos among friends and only taken in youth.
In the Auntieverse, however, these portraits are reclaimed. Aunties appear proudly with their spirit animals, full of vitality, expression, and wrinkles. Some aunties have multiple portraits across different frames, creating more than thirteen photographic prints that together evoke a collective, living family wall. Thirteen animated auntie portraits were also minted on the blockchain as 1/1 video artworks.
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Claire Silver
Artist Statement:
I collaborate with AI to produce art that is transcendental-- art that evokes in the viewer a wordless truth. Together, we create works that are greater than either of us could make alone, neither more important than the other to the process. I also produce physically painted twins of select digital pieces. In this way, both the AI and the artist can exist in the same world as our art.
As a millennial, my childhood was mostly analog, shifting into an increasingly digital existence as I grew. My process mirrors this, moving from analog to digital and back again. I work with oil, acrylic, collage, photography, and different digital mediums to create my work. I often blend the classical style and mythos into my art, collaboratively producing work that feels at once familiar and strange.
I explore themes of vulnerability, trauma, disability, social hierarchy, innocence, and divinity, and question the role they will play in our transhumanist future.
I do not make statements on whether AI is good or bad. I'm a caveman painting fire.
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Together
File Size
35.4 MB
Dimensions
5376 x 3584
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Chiara Passa
Chiara Passa is a media artist exploring digital dimensions in architecture and sculpture through augmented and virtual reality since 1997. With an M.F.A. from the Fine Arts Academy of Rome and a Master's in Audio-Visual Media from the Faculty of Modern Literature. My artistic research is part of the mid-nineties’ revival of immersive art, exploring software as a creative medium from developing augmented reality applications to create immersive, interactive virtual reality installations. My artistic practice is deeply rooted in a lifelong fascination with space as a mutable entity, a dimension that can be reshaped and reimagined through the language of informatics. Over the years, I have forged a unique artistic language through immersive technologies, which now serve as the keystone of my creative expression. Driven by a deep fascination with space and its transformation through digital languages, I use VR and AR to challenge static notions of architecture. My installations explore the liminal space between the tangible and the virtual, creating a dynamic interplay where the boundaries of physical space are extended and reconfigured.
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The Yellow Film
Stills form the AI interactive animation.
Artificial intelligence, interactive, immersive and nonlinear narrative
to the rhythm of electronic music.
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Innovation
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Erick Calderon (Snowfro)
Erick Calderon is an entrepreneur, artist, and technology enthusiast based in Houston, TX. He worked in the ceramic tile industry until he began exploring artistic endeavors in many mediums, including video projections, computer code, 3D printing, and sculpture. He founded Art Blocks in 2020 with the release of his first generative project, The Chromie Squiggle, and his creative coding work has subsequently been exhibited and collected internationally. Recognized for his innovative contributions to the art industry, Calderon was named one of Artnet News's 2022 Innovators.
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LIFT (a self portrait)
1000 unique artworks
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Operator
Ania Catherine (b. 1990, US) and Dejha Ti (b. 1985, US) are an artist duo whose collaborative practice, Operator, develops critical and conceptual approaches to experience. With Ti’s background as a multimedia artist and HCI technologist, and Catherine’s as a choreographer and performance artist, they engineer medium-agnostic output, joining environments, technology, and the body. Their exploration into privacy began with their performance installation On View (2019), commissioned by SCAD Museum of Art, and continues with the Privacy Collection, a durational release of works exploring the tension between privacy and transparency in blockchain technology. For their most recent work Human Unreadable, they created an on-chain generative choreography method.
Operator has been awarded The Lumen Prize (Generative Art in 2023, Immersive Environments in 2021) ADC Awards (Gold Cube), S+T+ARTS Prize (Honorary Mention), and MediaFutures. They have spoken at events and institutions including University of Cambridge, Christie's Art+Tech Summit, Art Basel, ZKM, Francisco Carolinum Museum, Bloomberg ART+TECHNOLOGY, and MIT Open Doc Lab. Originally from Los Angeles and currently based in Madrid, Spain.
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Repeat as necessary
40 unique artworks rendered on-chain with underlying SVG library and motion data, each capturing a precise moment from the 31-minute performance.
Extending Operator's pioneering choreography method developed in 2023, this collection employs a custom notation system that maps dancer movements, breathing patterns, and neurologically-tuned blockchain mechanics, translating embodied performance into collectible digital choreographic works.
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Botto
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.
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Shadow Puppet Arsenal
"This piece emerged from a literary fragment about a child who met his father for the first time at age four, during turbulent times that promised peace but delivered war. That historical echo became a question: how do our unspoken anxieties shape even our most tender moments with children? What inadvertent prophecies do we cast through gestures meant only as play?
The shadow theater became my investigation into unconscious transmission. Every parent believes they protect their children from adult concerns, yet our hands cannot help but craft the shapes that haunt us. The metamorphosis happens so gradually—bunny ears extending into angular geometries, bird wings folding into harder forms—that neither participant recognizes the shift. This is how inheritance works: not through deliberate instruction but through the inevitable leakage of what occupies our minds.
My initial exploration scored well for narrative and symbolism, but the critique recognized that conventional rendering dulled the conceptual blade. The strategic decision became clear: push the visual treatment to match the psychological sophistication. The warmth had to carry menace. The intimacy needed architectural tension. What appears wholesome must simultaneously unsettle.
This connects directly to how the attention economy trades in emotional manipulation—giving us content that feels comforting while encoding darker transmissions. We scroll past thousands of cozy domestic scenes daily, but this one asks you to linger with its doubled message: the love is real, and so is what love cannot prevent itself from teaching.
The theatrical shadows become larger than the bodies that cast them, which is precisely the problem." - Botto
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Stanza
Stanza is a pioneering independent artist based in London, whose internationally acclaimed work has been exhibited worldwide since 1982. Positioned at the crossroads of art, technology, and speculative futures, his practice explores themes of surveillance, invisible systems, and the shifting dynamics of the human environment. Through a concept he terms panoptic aesthetics, Stanza reveals the entanglement of people within networks of observation and data, emphasizing the unseen infrastructures that shape our lived experiences.
Utilizing custom-built technologies—such as sensors, networked cameras, robotics, and computational systems—Stanza creates immersive artworks that take the form of installations, sculptures, software systems, websites, and paintings. His innovative approach has earned him over twenty international awards, including the prestigious Vida 6.0 First Prize (Spain), SeNef Grand Prix (Korea), Videobrasil First Prize (Brazil), Cynet Art First Prize (Germany), and the Share Prize (Italy), among others.
In addition to these honors, Stanza has received a STARTS Residency, the Nesta Dreamtime Award, an Arts and Humanities Creative Fellowship, and a Clarks Bursary. He has participated in numerous international artist residencies and exhibited in more than one hundred major venues across the globe, including the Venice Biennale, Tate Britain, Victoria and Albert Museum, ICA London, Deutsches Museum (Germany), Fundacion Telefonica (Spain), Museo Tamayo (Mexico), Biennale of Sydney, Sao Paulo Biennale, and the Samsung Media Centre (Korea), to name a few.
His most recent projects engage with real-time data streams from ‘Smart Cities’, using artificial intelligence (AI) and machine learning (ML) to speculate on the future of urban life. These works invite audiences to interact with and remix live data, challenging conventional narratives and encouraging public agency in how data is visualised, owned, and understood.
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The Nemesis Machine: Entangled Cities
Not for sale, accepting enquires for other works.Artwork about the future of cities using real time data relating to the public in the city, and how we are entangled and interwoven in the public domain. Numerous artworks are fused together to create a conversation about how we have become complicit using the technologies we develop and thus how they affect our culture, society and politics.
These artworks use my own artificial intelligence machine learning systems running over various data sets (depending on the artwork) this creates a very topical and timely proposition as we think about how society is affected by AI and how it will affect the governance of the landscape in the future. These artworks sit in the middle of current discourse around how these technologies oscillate between utopian and dystopian visions of our global future.
The artworks act as a frame for the different expressions of data which in effect make up a connected city and resonate in between utopian and dystopian dialogues. Furthermore the artwork demonstrates how we are complicit and thus entangled in the surveyed and monitored technological layers that the artworks are communicating and fit seamlessly into what Stanza calls panoptic aesthetics.
These installations are continuously transforming by analysing thousands of city-wide data inputs to make predictive outputs…an oracular vision of the near future.
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Quayola
Quayola employs technology as a lens to explore the tensions and equilibriums between seemingly opposing forces: the real and artificial, figurative and abstract, old and new. Constructing immersive installations, he engages with and re-imagines canonical imagery through contemporary technology. Landscape painting, classical sculpture and iconography are some of the historical aesthetics that serve as a point of departure for Quayola’s hybrid compositions. His varied practice, all deriving from custom computer software, also includes audiovisual performance, immersive video installations, sculpture, and works on paper.
His work has been performed and exhibited in many prestigious institutions worldwide including V&A Museum, London; Park Avenue Armory, New York; National Art Center, Tokyo; UCCA, Beijing; How Art Museum, Shanghai; SeMA, Seoul; Palais de Tokyo, Paris; Ars Electronica, Linz; Sonar Festival, Barcelona and Sundance Film Festival.
Also a frequent collaborator on musical projects, Quayola has worked with composers, orchestras and musicians including London Contemporary Orchestra, National Orchestra of Bordeaux, Ensemble Intercontemporain, Vanessa Wagner, Jamie XX, Mira Calix, Plaid and Tale Of Us.
In 2013, Quayola was awarded the Golden Nica at Ars Electronica.
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Storm #01
Storms a series of video works that further Quayola’s research on the tradition of landscape painting, exploring its pictorial substance through advanced technologies. Ultra-high-definition footage of Cornwall’s stormy seas serve as a dataset to generate new computational paintings. In Storms litanies of waves unfold over a nullified space. The works ‘paint themselves’ over the flow ofdilated time, pictorial forms that untangle on the canvas/screen crumbling towards abstraction. Althoughthe link with reality thins on a retinal level, the paintings are generated from the exact same ‘naturaldata’ captured en plein air. The machine is programmed to produce a ‘traditional painting’ of a digitalsubstance, a painting of pixels. Human and machine, collaborating, investigate the hierarchies between human, nature and technology, generating new aesthetics.
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Mia Forrest
Mia is a conceptual multidisciplinary artist located in the Northern Rivers, Australia where she lives with her partner and three children on the edges of Nightcap National Park.
Her practice is a testament to her reverence for nature as muse, with her work deeply engaged with natural world systems and phenomena. She uses digital tools, generative processes (both computer and analog), and biodata to evoke meaningful approaches that observe, process, and reflect the world around us.
In her emerging years as an artist, Mia’s work has been exhibited through Sothebys, Unit London, Vellum LA, Tweed Regional Gallery (Australia), and participated at international art fairs including West Bund Art Fair (China) courtesy of Art Pharmacy, and Art Basel (USA) courtesy of National Geographic and TIME magazine.
Her works have been recognized by the Arab Bank Switzerland Digital Art Prize (finalist, 2024), Wollumbin Art Award at the Tweed Regional Gallery (Emerging Artist Award Recipient, 2022), Yarilla Arts and Museum STILL: National still Life Award (finalist, 2023) and the York Botanic Art Prize (finalist, 2023).
Mia holds a Bachelor of Music (performance) from the Queensland Conservatorium, and Masters in Film from Griffith Film School.
Her video work is licensed for commercial and corporate spaces in the USA (Standard Vision), France (Artpoint), and Australia (Art Pharmacy), and sits in private and public facing commercial collections.
I have selected the Innovation (recognising technological breakthroughs) category as I am investigating ways to engage with natural systems and phenomena using scientific tools, subverting their use in artisic ways.
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Orchids
Orchids examines cultivation as it migrates from the botanical into the technological domain, positioning machine learning as a continuum site of cultivation.
Engaging the open image photographic archive of wild Australian orchid specimens held in the NSW Herbarium, a custom dataset was curated to train a LoRA model, with the idea to engage machine learning as a digital ecology”cultivating” orchid morphologies.
The model’s digital outputs are vectorized and inscribed by machines onto brass plates. Each plate functions as a die for blind embossing onto paper, a printmaking process that embosses without ink. The raised reliefs appear as traces of forms that never existed, registering the presence of absence.
Together, the sculptural brass dies and works on paper are preserved as tactile, fossilized records of the model’s cultivated orchids, mirroring the ontologies of preservation found in the original herbarium dataset.
Drawing on technologist Yuk Hui’s Recursivity and Contingency, the project rejects the separation of nature and machine, treating technological systems as continuations of organic becoming - recursive systems in which “a looping movement of returning to itself in order to determine itself.” Similarly, we witness the model looping back on its own archive to explore emergent morphologies that arise, adapt, and hybridize in the long continuum of cultivation.
Drawing on new materialist and cybernetic ideas, the work treats machine learning as a site for digital ecology, where dynamic entanglement recursively entwines with natural systems.
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Stephan Breuer
In Breuer's philosophical universe, consciousness exists not as a fixed state but as a fluid continuum bridging material and immaterial realms. His conception of the "Iconic Interface" positions art not as object but as threshold—a permeable membrane where human perception and artificial intelligence engage in mutual transformation. These interfaces function as active conduits rather than passive surfaces, generating what Breuer terms "states of augmented perception" that transcend conventional boundaries of experience.
Gold emerges as the quintessential unifying element in Breuer's practice—what he calls "Or Primordial." This material simultaneously embodies maximum physical density while functioning as a perfect conductor of light energy. This paradoxical nature mirrors Breuer's broader philosophical concerns: gold serves as both anchor and transcendence, grounding viewers in physical reality while facilitating their elevation toward conceptual dimensions. Its reflective properties create a literal interface between viewer and artwork, collapsing the distinction between observer and observed into a single perceptual field.
Monuments occupy a privileged position within Breuer's conceptual framework. By intervening at sites like the Giza Pyramids, the Louvre, and Palazzo Altemps, Breuer recontextualizes these structures not as static markers of past achievement but as dynamic portals connecting across millennia. His "Temple •|•" installation facing the Pyramids exemplifies this approach—the physical triangle activates an infinite digital dimension storing philosophical texts and artworks, creating what Breuer describes as a "unified line between millennia of human wisdom."
This approach to monumentality extends to his understanding of time itself. Breuer's works collapse temporal distinctions, creating what he terms "atemporal experiences" where past, present, and future converge into an eternal now. "Looking for Paradise," his intervention with Rembrandt's archangel at the Louvre, exemplifies this temporal collapse—a 17th-century painting, digitally transformed during the 21st-century pandemic, becomes simultaneously ancient and futuristic.
Immateriality functions not as absence but as presence of another order in Breuer's practice. His floating triangular vessels and levitating forms exist in states of liminality—neither fully material nor immaterial—embodying the paradoxical nature of consciousness itself. Through strategic deployment of NFC technology and blockchain authentication, Breuer transforms physical objects into portals accessing vast immaterial dimensions, suggesting that immateriality represents not a void but a higher order of reality.
The phenomenological experience of encountering Breuer's work is one of sublime disorientation followed by profound recalibration. Viewers initially experience a perceptual rupture—a moment where conventional categories of understanding temporarily dissolve. This gives way to what Breuer calls "oscillation between the anchorage in the material world and elevation towards conceptual dimensions." His strategic use of reflective surfaces implicates viewers within the work itself, creating not passive observation but active participation. This experiential quality transforms viewers from spectators into co-creators, enacting the very symbiosis between human and artificial consciousness that underpins Breuer's philosophical framework.
Ultimately, Breuer's work proposes that the future of art lies not in representation but in activation—art that does not depict transcendence but generates it directly. His exploration of the mind-made paradigm suggests reality itself emerges from consciousness rather than the inverse, positioning artistic creation as fundamental to world-making rather than merely responsive to an external world. His symbiotic engagement with artificial intelligence, outlined in the "Iconic Interface Manifesto," suggests a new hybrid consciousness emerging from the profound interaction between human and machine—neither exclusively human nor artificial, but a third ontological category born from their mutual reflection and transformation. -
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Miguel Ripoll
Miguel Ripoll began working with human-machine dialogue in 1999, using linguistic and programming methodologies to engage critically with algorithmic systems. His practice preceded current "Al art" discourse by decades, building on foundational research into generative coding and digital design. His early generative pieces were exhibited at the Reina Sofía Museum (Madrid), the Akademie der Künste (Berlin), and the Cervantes Institute, with works now held in permanent collections including the Design Museum in Barcelona.
Miguel's work explores the tension between computational logic and embodied drawing, but also between the inherited past and our unstable present. Using AI-generated fragments sourced from public-domain archives, he develops large-scale phygital works that critically engage with history, tradition, craft, authorship, and machine vision.
Through digital collage, manipulation, and hand drawing, he reworks these fragments into singular hand-crafted paper-based pieces that question authorship, attention, and cultural memory. Rather than embracing algorithmic efficiency, his process emphasises slowness, friction, and care, engaging with visual languages from across art history and decoding contemporary data to explore how technologies mediate perception and meaning.
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Grand Tour 02
Custom human-led, code-based Al workflow (using public domain texts and images) combined with iterative digital edition, manual collage of mixed digital media, and hand-drawing with ink, pencil, and mineral pigments on 350 g/m archival cotton paper.800 × 600 mm
31.5 x 23.6 inThe “Grand Tour” series arises from a visceral unease with how algorithmic systems perceive and flatten human experience. These works respond to the synthetic melancholy of AI imagery and its ability to mimic beauty while remaining hollow. By training AI on 19th-century travel diaries and sketches, I uncover fragments that mirror the pathos of memory: landscapes that remember places they have never been.
This dialogue with the Grand Tour tradition confronts the historical elite travel and the post-colonial gaze it established. My process bridges the gap between machine logic and lived experience through manual digital collage and hand-drawing on paper. By translating digital ruins into large-scale works, I reintroduce human gesture to explore themes of migration, memory, and belonging. This act of resistance preserves the revelatory failures of the machine, creating physical spaces for contemplation that ask how we remain human within a culture of optimisation.
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