After Charlotte Posenenske. Comes with an Arweave source NFT.

Rasterbild

The title of this exhibition, Release early, release often, delegate everything you can, be open to the point of promiscuity, references a credo of computer programmers in the open source movement. The phrase describes a software development philosophy that encourages frequent release in order to keep a rapid, close feedback loop operating between the system user and developer. Blurring distinctions between the software's users and its creators, this strategy allows for transparency and heightened physical and conceptual accessibility, two concepts the artist values in his approach to artistic practice.

<a href='https://dissociations.com/wiki/summaries/release-early-release-often-2013' target='_blank'>More information...</a>

Release Early, Release Often

A protoseeder ie. created with the Mutant Garden algorithm. The original output was generated in 2023.

Soft Shield

Lacelove

Thursday, April 11 2019, 12:11:23

Thursday, April 11 2019, 13:40:18

Wednesday, April 2 2019, 14:12:13

Thursday, March 28 2019, 16:10:34

Wednesday, April 3 2019, 14:47:47 CEST

Wednesday, April 3 2019, 15:13:14

Friday, April 26 2019, 00:50:27

Thursday, April 25 2019, 23:40:34 CET

Wednesday, April 24 2019, 17:37:10 CET

Shy Overture (triplet)

This is a selection of newly processed early outputs of the Mutant Garden algorithm, based on Cartesian Genetic Programming.

Proto Seeders

Created with the "Stained Unravel" algorithm, comes with source NFT.

Thresh

Bison

Ostriches

Death Roll

Gaussian Goat

Dogggie

These are some of my earliest works to receive a (somewhat) wide audience. The works date from 2007. This was a time when artists were first getting excited about the ready availability of images they could access just by doing Google searches. The images were high quality, and often rather clinical. In their apparent simplicity, they were easy to manipulate, like sampling a song where the first bar is just drums. The stills are the first part in a series of images including black and white animated GIFs and other animations. 

Using animals as the subjects for the images also lent itself to the overall generic quality. The images were more indexical in nature rather than being portraits in the way they would be if they were of humans, or, for example, of specific pets posed for the shot. They were just of “animals”.

The works resurfaced in my consciousness recently when they started appearing in posts on Instagram - uncredited, I might add. The goat, in particular, proved to be very popular. People thought the images were very funny and they liked them, but when they found out the effects were created in software, they were disappointed. They thought I’d done them photographically with exposure effects, but, in fact, it was all a function of settings and filters. In that the images could be thought of as “pure products” of the internet - the result of simple googling and downloading Photoshop illegally - this genericness of their creation appeals to me and fits with the overall tenor of the project as I understood it.

Animal Configurations

Not so much a sculpture; rather a light, site-specific, observation. The exhibition space and the works in it are reflected by a ready-made mirroring inflatable, causing the space to contain a compressed version of itself. This is a recursive step: a part of the whole is the whole again. Self-referentiality is a recurrent pattern formulated in the algorithms of the generative artworks also on display.

Recursive Intervention

Chrysalis (blue)

Chrysalis (mint)

Chrysalis (green)

A series of hanging sculptures made from UV printed heatshrink foil and other packaging materials.

Chrysalis Sculptures

Assemblage (new)

Assemblage (About)

Assemblage (chain)

Assemblage (canvas)

Assemblage (shell)

Assemblages dates to the time shortly after I graduated from art school. At that time my friends and I were often experiencing artworks through the images posted on sites like Contemporary Art Daily. The images we saw were of pristine spaces with perfectly realised works. I wondered how it would be if I rendered the exhibitions using 3-D software - programmes like Cinema 4-D were among the programmes I used for the works. Once I created these renders, I could post them and see if they would be featured on the blogs alongside the exhibition views on which they were based. 

The idea worked a little too well. A gallerist in London saw the images online and she liked them. Thinking they were IRL works, she asked if she could show them. It was a very generative dilemma. I could either admit they were digital works and had no physical dimension, or I could create the works IRL. I decided to accept the challenge, and it was challenging. The works are spheres, the easiest shapes to create digitally. It’s three clicks, assigning an image as a texture on a sphere and then making adjustments. To make the same shape in physical material is among the hardest things you can do.

For the surfaces, I printed some images from Google image searches - mostly textures from ready-made render kits. I chose mostly images that represented complex systems, network cables, intestines, whatever I could find that was interlocking and complex. The works became sculptures about the ways in which systems fit together, interpenetrate, and elude each other. The sphere is a kind of container, but also a fixed border, holding these complexities in tension and in place, not least the complexities behind their own creation. 

Assemblages

The cutout design refers to a lithography by Hans Arp from 1962.

Bag (Skeleton and its entourage)

Bag (Pflanzenbild)

Spectre

Based on the work "Constellations" by Jean Arp from 1938


Another Bag

Hand- and CNC-cut brown paper bags; interpretations of lithographies by Hans Arp. 

Bags

Okazaki, Sakamoto, van den Dorpel, Murayama

Takuro Someya Contemporary Art is pleased to announce the upcoming solo exhibition Cloud Writings by Harm van den Dorpel. This marks his first solo exhibition at the gallery and features a series of works including new pieces unveiled for the first time in Japan. In this exhibition, van den Dorpel presents algorithmic drawings shaped by his generative practice and the ideas of female artists active in minimalism and conceptual art in the late 20th century.

<a href='https://tsca.jp/exhibition/harm-van-den-dorpel-cloud-writings/' target='_blank'>Gallery Website...</a>

Photos by Shu Nakagawa

Cloud Writings

Interpolation I

Interpolation IV

Interpolation VI

Interpolation VIII

Based on an output of my "Stained Unravel" algorithm. Comes with a source NFT.

Diagonal Fault

Vesper

Comes with <a href='https://opensea.io/item/ethereum/0x51d057ca378600ba5bd0e33e4f6b5663d1dccf53/4'  target='_blank'>Arweave SVG NFT</a>

Archive Static

Comes with <a href='https://opensea.io/item/ethereum/0x51d057ca378600ba5bd0e33e4f6b5663d1dccf53/3'  target='_blank'>Arweave SVG NFT</a>

Stitched Gaze

Comes with <a href='https://opensea.io/item/ethereum/0x51d057ca378600ba5bd0e33e4f6b5663d1dccf53/1'  target='_blank'>Arweave SVG NFT</a>

Hatched Lining

Comes with <a href='https://opensea.io/item/ethereum/0x51d057ca378600ba5bd0e33e4f6b5663d1dccf53/0'  target='_blank'>Arweave SVG NFT</a>

Chroma Husk

Comes with [Arweave SVG NFT](https://opensea.io/item/ethereum/0x51d057ca378600ba5bd0e33e4f6b5663d1dccf53/2)

Sealed Solids

Generative animations published as on-chain NFTs, alongside plotter drawings made from their outputs.

The work is built on a cellular automaton in the tradition of Conway's Game of Life — but of a different kind. Where Conway sets out a minimal rule that decides whether each cell lives or dies, Stained Unravel gives its cells a far larger vocabulary: 23 morphological states they can inhabit, acted on by three mechanisms from which birth, survival, and death emerge as consequences rather than as prescribed rules.

The algorithm is described in full on the <a href='https://dissociations.com/wiki/stained-unravel' target='_blank'>Dissociations</a> website.

Stained Unravel

Interpolation IX

Interpolation VII

Interpolation V

Interpolation III

Interpolation II

Series of plotter drawings that extend Hanne Darboven's <a href='https://www.mercedes-benz.art/en/artwork/konstruktionen-new-york-hanne-darboven-new-york-196667-2/' target='_blank'>Konstruktionen</a> (1966) through interpolation. For each work, the lines of an existing Darboven construction are traced, and software then computes the lines that would lie between them — drawing out a continuum the original only implied. The results are plotted onto millimeter paper.

Interpolations

Ascent

Unlike a digital printer, a plotter moves around the drawing area in all directions, lifting and releasing its pen to draw lines. In this particular drawing, for some black lines, I decided to leave the pen on the paper and not lift it when it moved to another location. This created unpredictable in-between "threads", reminiscent of the backside of traditional embroidery.

Embroidery

The probability of downward diagonal streams increases towards the bottom side of the drawing, creating the impression of curvature, as if hovering a planet.

Atlas

Current

Girl/Boy Song

Vermis

Fait Divers

Rapture

Divide

Vapour

Helmgras

Printemps

Pineal

Peaking

Drift

Hail

Mold

Shroud

Probabilities transition gradually based on the coordinates within the canvas (x/y).

Poles

Valley

Symmetrical Overdub

Breeze

Weaving (square)

Ridge

Coral

Scene

Cuneiform

Cliff

Weaving

Ongoing series of plotter drawings on paper and PVC. Premiered in the exhibition <a href='https://harm.work/exhibition/angles-morts/all'>Angles Morts</a>.

Stained Unravel Drawings

Interface Gallery together with Nguyen Wahed presents Senescenence, a solo exhibition by Harm van den Dorpel. The exhibition brings together a body of generative animations built upon a cellular automaton in the tradition of Conway's Game of Life, where a minimal set of rules gives rise to extraordinary complexity, and where death is not failure but the system's natural feature. Alongside the screen-based works, the exhibition also includes a series of plotter drawings on paper — tracing the same generative logic into an anachronistic register. 

The title, Senescenence, is an intentional recursive misspelling of "senescence," the term for the gradual aging or deterioration of living systems, often associated with the browning of fallen leaves.

The works emerge from Van den Dorpel's ongoing research into the foundations of generative art: from the binary logic of the weaving loom, to early two-dimensional pixel graphics, to the contemporary GPU, where millions of cells can live, die, and transform simultaneously in real time. At each technological threshold, the capacity for complexity expands beyond full human control. The visual language draws on traditions that understand pattern as more than ornamentation. References to Anni Albers' textiles, Buddhist mandalas, and stained-glass windows evoke rule-based systems in which local decisions accumulate into forms that exceed their individual construction. In these systems, structure becomes a carrier of meaning. This aligns with a much older cross-cultural intuition: that geometry is not merely descriptive but generative. Within traditions of sacred geometry, structure and spirit are intertwined rather than opposed. Van den Dorpel approaches the algorithm with this mindset, not simply as a tool of expression, but as a system set into motion to allow unforeseen forms to emerge beyond the artist's direct control. The works are less composed than initiated; what appears on screen is not fully designed, but permitted.

Each cell exists only in relation to its neighbours, recursively and conditionally. Nothing endures. The patterns that surface are temporary negotiations with impermanence, and the work resists any attempt at final resolution.

[More information...](https://nguyenwahed.com/exhibitions/37-senescenence-harm-van-den-dorpel-with-interface-gallery/overview/)

Activity

Rasterbild

Release Early, Release Often

Soft Shield

Proto Seeders

Thresh

Animal Configurations

Recursive Intervention

Chrysalis Sculptures

Assemblages

Bags

Cloud Writings

Bag (Pflanzenbild)

Bag (Skeleton and its entourage)

Another Bag

Interpolation I

Interpolation IV

Interpolation VI

Interpolation VIII

Stained Unravel

Interpolations

Interpolation IX

Interpolation VII

Cloud Writings

Vesper

Senescenence