Mutant Garden

Uninnocent Bystander

Vertiginous Data

Pattern and Presence

Asking for a Friend

E-State Realisms

Okazaki, Sakamoto, van den Dorpel, Murayama

About

Our Inner Child

Named after an [Autechre track](https://www.youtube.com/watch?v=-F665Mkc0D0).

Altibzz

Pivot

Created with the Mutant Garden algorithm (CGP).

Gumware

Lacelove

Thursday, April 11 2019, 13:40:18

Thursday, April 11 2019, 12:11:23

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

Based on a screen capture of Markov's Dream, pulled through a custom rasterer.

As part of a commission for the Serpentine Gallery's [Future Art Ecosystems Vol. 3](https://www.serpentinegalleries.org/whats-on/future-art-ecosystems-3-live-art-x-decentralised-tech-launch/) publication.

Edition of 3+1AP

Molly Blob 1

Molly Blob 2

Eventide Paramour

Pejorative Highlights

UltraChrome HD print on archival fine art paper

Decent Fabric

Hazy Sparkle Boost

Hissed Hyphen Flicks

Run Too

Crystallophobia

Umbilical Dramatoxin

Untitled Decompression

Bloated Taunt

Defenseless Qualm

Untitled (pleasant modules II)

Multi Dimensional Zoom

Unheard Estimator

Symbol No Aggression

Push Forth Specter

(inspired by a design by Laurel Schwulst)

Merch Clouds

Decompression

C. C. Rashes

Untitled (1554993052565)

Audit Myth Buzz

Trebles

SPARCStation

W. D. Sensualist

1554994948963

Bemused Aversatility

Seul

Cussos Unfence Thermographers

Bars

Unscripted Relinings

Fickle Particle I

R. Electrotype

Peached Renitencies Mercer

Eponymous Seedling

Torn split

Dechayotic

Bluena

Frouters

Availablesky

Adoreway

Untitled Collage

Untitled (collage with hands)

Sample

Saturation Transition

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

Prints