Innovation

Maja Petrić

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.

Ana Maria Caballero

I am a literary artist, someone deeply committed to working with language in all its manifestations and modes of transmission, including books, spoken-word, video, handwriting, sound, code, paper, artificial intelligence, choreography. Sometimes we consider verse to be immaterial, ephemeral, ethereal. But there is nothing more material than the songs, artworks, poems, memories that enter our minds as we wait in line for coffee, sit in traffic, boil eggs, towel children. Nothing is more material than what makes us tick.

Pindar Van Arman

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.

Sougwen Chung

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.

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.

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, emphasising 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 honours, 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.

Damien Bénéteau

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.

Cem Sonel and Ramazan Can

We, Ramazan Can and Cem Sonel, merge the narratives born from our individual artistic journeys into a shared creative universe. Our art explores the layers of memory, the cyclical flow of time, and the fabric of collective consciousness through the rhythm of the contemporary world. At the intersection of tradition and modernity, material and digital, our mediums form a “third identity”—one that belongs neither solely to one of us, but emerges from the union of both.