Okazaki, Sakamoto, van den Dorpel, Murayama

Screens and Skin

Stedelijk Base

This NFT is a fully on-chain spin-off of Markov's Dream: Orb. Its colours, amount of rings, rotation speed and curvature are determined on mint and remain fixed. The animated vector graphics that compose this artwork are entirely generated by the Solidity code that the smart contract was programmed in. It does not rely on any web server or off-chain storage solution like IPFS, which means that this artwork is indestructible and will live on as long as the Ethereum blockchain exists.

Holders of Mutant Garden Seeder were eligible for a free mint of Orb (lite). Holders of Markov's Dream received their tokens airdropped. Further minting schedule will be announced on Twitter.

A maximum of 512 tokens could be minted.

[View minting page](https://markovs-dream.harm.work/orb-lite)

Markov's Dream: Orb (lite)

"Markov’s Dream" is a series of 32 generative animations, composed by subdividing rounded squares and various transformations. This 2022 work is a remake of my 2004 work “Markov’s Window”.

Markov's Dream

Markov was a Russian mathematician (1856 - 1922) who is best known for his work on chance. He described the so called “Markov Chain”: a simple method to calculate the probability of something new happening, by looking only at the current situation, and ignoring events in the past. This is sometimes characterized as “memorylessness”.

The composition starts off as a single square, filling the whole screen. This square can split into multiple segments, it might change its colour, or it might rotate 45°. Each of these changes in appearance have a particular chance of happening, purely based on their current state.

A square can subdivide into sub-squares, which in turn can split into other segments, and so forth. This could potentially happen infinite times. The property of nested subdivision is called “recursivity”, and is commonly found in software development, architecture and linguistics.

By defining only a few simple probabilistic rules the artist created a system that can achieve a very complex composition. Whereas Mondriaan might have made many studies and versions to reach one single best possible composition, this work instead embraces perpetual change.


Markov's Window

Andrey Markov was a mathematician who was interested in randomness. In the jargon of probability theory, a mathematical object defined by a set of random variables is known as a ‘stochastic process’. Markov became interested in how much you could know about a stochastic process, and in his research he developed a model we now call the ‘Markov process’ – some people refer to it as a ‘Markov chain’. The Markov process examines the state of a system at a given time and attempts to project the next state of that system based on existing relationships.

[Read article about this series...](https://markovs-dream.harm.work/about)

Window and Dream

Context Switch

Mutant Garden

The Painter's New Tools

Uninnocent Bystander

Typographic Trace

Unique edition + 1AP

Light exposure on photographic aluminium paper, mounted behind acrylic glass, framed

Modular Mind

Blush Array III

Eventide Paramour

Wednesday, April 3 2019, 15:19:55 CEST (Pleasant  Modules)

Blush Array II

Blush Array

Pejorative Highlights

Mutant Garden Seeder consists of 512+1 generative unique Ethereum NFTs by artist Harm van den Dorpel, released in collaboration with Folia in 2021.

Mutant Garden Seeder

High resolution render of the Mutant Garden algorithm, manually calibrated. When this one was made the renderer did not use Gaussian blur yet. Its composition primarily benefits from the alternating AB/BA grid structures and its colours from a balanced pastel palette (HSL colour space).

12000×12000px

Alternate Ploy

Plural Shim

Grand Formation

Zwour

UltraChrome HD print on archival fine art paper

Decent Fabric

Moksi

Odd Motives

Mutant Garden Tracer

Generative animated artwork, based on evolutionary programming. Dimensions variable, duration infinite, silent.

Edition of 3 + 1 AP

Mutant Garden Autobreeder

Hissed Hyphen Flicks

Hazy Sparkle Boost

Poly Fill

Run Too

Early high resolution render of the Mutant Garden algorithm, manually retouched.

9331×9331px

By Harm van den Dorpel, 2020

(title by William Kherbek)

Neural Dust

Trivializer

Triddle

While developing the Mutant Garden algorithm based on Cartesian Genetic Programming, my programming error produced this unexpected recursive structure.

8000×8000px

Mutant Garden (early bug)

Source Unknown

Crystallophobia

Floppy Candour

Untitled Decompression

A website where users can live breed and mutate specimen.

Mutant Garden Website

Autobreeder (single screen)

Multi Dimensional Zoom

Crud

Untitled (pleasant modules II)

Symbol No Aggression

Push Forth Specter

daisies

Decompression

Untitled (1554993052565)

Trebles

Field

SPARCStation

Rendered using Cartesian genetic programming

Friendly Conglomerate

1554994948963

Bars

This artwork uses an algorithm called 'Cartesian genetic programming', intented approximately twenty years ago by Julian F. Miller and Peter Thomson. It is called ‘Cartesian’ because it represents a computer program as a two-dimensional grid: nodes and layers. Althought the result of my specific use of this algorithm is also two-dimensional, the algorithm is versatile and can also generate completely different systems, such time based media, human language or three-dimensional structures.

As we also encounter in genetic encoding in "real nature", the genotype contains many redundant genes, which are well known to assist in effective evolutionary development.

In Mutant Garden, clicking one rectangular 'mutant' will cause its siblings to be replaced with newly mutated offspring. This breeding strategy requires only one parent to be selected because the algorithm utilizes mutation, rather than cross-over.

As many people nowadays tend to equate articial intelligence with neural networks, I wanted to highlight the evolutionary progress in this recent history of computation, approaching it as algorithmic archeology. Each new innovation in this lineage aimed to improve or declare its predecessor obsolete, yet would simultaneously stand on its shoulders.

Vertiginous Data

E-State Realisms

Pattern & Presence

Proof of Work

Rendered in 2017, remastered and minted in 2022.

Protorb

C. C. Rashes

W. D. Sensualist

Lammer Asbestos

Fissured Petrolling Mridangam

Wyn (generation unknown)

Hexamerisms

Cussos Unfence Thermographers

Seul

R. Electrotype

Peached Renitencies Mercer

Nested Exchange

Created with the Nested Exchange algorithm (remastered in 2023)

Segfault

The works in ‘Nested Exchange’ could be thought of as ‘information works’ as much as art works. The individual specimens find their form by a process of information exchange with each other. The images are connected via nodes in a nested structure. They ‘communicate’ by the flipping of a node within the structure which then creates a new equilibrium in the system which affects everything that comes afterward. Nodes communicate - or gossip - with each other. The imperative of the work is to produce the greatest diversity possible, so each specimen is driven to be as different as it can be from those around it (I've also called this my "hipster algorithm"). 

There are a number of themes that come into play in a work like ‘Nested Exchange’. The specimens are configured in nested recursive ‘tree’ structures similar to those used in the first iterations of Chomskyan linguistics. Ultimately, the output of these exchanges are different from language in a number of ways. One of the most divergent features is that in the work no new information - per se - is produced, but existing information is recombined toward an optimally diverse distribution. The nest is a kind of open and closed system at once, recursive, and, therefore, functionally infinite, but also radically constrained. The system records its changes between states as ‘snapshots’, leaving a complete history of itself in a manner similar to a blockchain ledger.   

Asking for a Friend

Shunned Mass

Umbilical Dramatoxin

Bloated Taunt

Defenseless Qualm

Unheard Estimator

Audit Myth Buzz

Bemused Aversatility

Unscripted Relinings

Fickle Particle I

Eponymous Seedling

Algues Artificielles

Hybrid Vigor .bio

Torn split

Dechayotic

Adoreway

Availablesky

Frouters

Bluena

During the summer of 2016, I spent a few weeks with my family by sea in Bretagne, France. During these times when one is expected to relax and not work, somehow ideas come more freely. I liked how the seaweed and jellyfish washed ashore and formed shapes and compositions which were always different, but, also, somehow always the same.

I tried to programme a simple piece of computer code to simulate these smooth, round curves. The effects were surprisingly satisfying. Somehow, my shapes reminded me of the sculptural works of Hans Arp.
Instead of randomly generating those shapes, which was quickly becoming a bit boring, I tried to define a mechanism by which I could influence the outcome. I was wondering what would be the ‘most interesting’ composition. Could a process of feedback between me and the software be considered a kind of dialectic?

I devised a system in which the drawings - consisting of multiple lines and shapes - would evolve and improve over time. In many iterations, the system would give me a generation of works; each time I would pick two from which more ‘children’ would be bred. Because the breeding always happens between ‘siblings’ - a sort of mechanical incest - the diversity would gradually converge.

Technically (or biologically?), all properties of a drawing (angles, smoothness, shape, colour, transparency, scale, position, etc.) are stored in a long sequence of 0s and 1s: a digital genome. These genomes hermetically define the appearance (or phenotype) of each work (or specimen).

When two people (or, in this case, two drawings) are selected and mate, both of their chromosomes are aligned, and ad-random genes are selected from either parent (crossover). From this game of recombination, both iterative and diverse offspring emerge.

The process of selecting candidates for breeding, examining the results, and using those results to further breed to eliminate or emphasise particular traits in animals and flowers is called 'hybrid vigour'.  My website, 'Hybrid Vigor’, is publicly accessible to crowd-source this process in an evolutionarily selective way, using the internet visitor as the fitness function.

Uttered Modality

Lazy, Eager, Last, Final

Untitled

Fingerprinting

Metaballs

Untitled Flower

Yellow Snow

The automated drawings are a series of works that were born out of being in the studio. The title of the series could be interpreted as a nod to the "[automatic drawings](https://en.wikipedia.org/wiki/Surrealist_automatism)" made by the surrealists.

Often when I’m creating serial works, I make different series at the same time. For example, when I was working on ‘Death Imitates Language’ I was making drawings, too. In the case of these, they came about when I would have certain small ideas, formal explorations, I suppose it would be best to call them. I would get started on them, and just seeing them on the screen or printed by a laser printer seemed to leave them a little flat and lifeless to me, not dynamic enough. I wanted to make them a bit more ‘live’, and, so, ironically, I introduced a machinic dimension.

I would set up a plotter that would begin drawing with a ballpoint pen, and then I would interfere in the drawing process. Sometimes I would pull out the pen or change the pen in the plotter as it was moving. It resulted in some very interesting effects. I particularly liked cases when, for instance, there would be horizontal line, and then a vertical line, and the movement of the plotter would displace the ink that hadn’t dried in the previous line. This created pleasant, unexpected painterly qualities. In a way, these are quite classical works, concerned with form and the temporal dimension - they take a lot of time to create which allows me to get bored and experiment with the process. They are something like classical cyborg art works. 

Automated Drawings

Wer nicht denken will, fliegt raus

Big Pablo Ferenc Zatlas

Juancar Zolim Juancar

Vvgdamn Pipikaka Yozdczmi

Hatter Epot Xgeubke

This fullscreen software autosurfs the massive genealogy of the 'death imitates language' project, containing the entire population, bred by a genetic algorithm, and selected by micro-feedback of the artist

offline, duration infinite, not interactive, silent, macOS


Autobreeder

Shtonk Vtejuwoh Bonifac

This website contains an enormous population of speculative works. Each of these works is generated by inheriting sequences of information — a sort of DNA — from its ancestors. These ‘genetic’ codes determine which elements appear in the work and in what form or constellation. The population changes over time by means of subjective ('natural') selection by the artist: micro feedback or 'likes' about which of the works can live on, which ones should die, and who can procreate. This feedback, combined with visitor statistics and simulated aging, causes the genetic program to mutate and (arguably) improve over time.

When creatures reach their optimal state they are 'frozen' and potentially translated into physical objects.

Death Imitates Language online genealogy

Vuwtvvyft Zcuviey Dayssuck

In the years leading up to ‘Death Imitates Language’, I was trying more and more to be an ‘artist artist’, someone who fitted into the gallery space and the art markets in conventional terms. I had some success, but I also had a sense of sadness about the process. It felt a bit hollow and disconnected from the Net Art which I saw myself as coming out of. For a while, I thought about turning away from the art world and doing what I really enjoyed most, which was programming. While I was in this unsettled period, I was doing a lot of generative graphics, but I was somewhat bored. I felt like the graphics needed a bit more development and direction to add to the randomness created by the programmes. 

It was around this time that I saw a video by the programmer, philosopher and general provocateur, Vinay Gupta, about algorithms and dating apps. Gupta estimated that Tinder and similar apps were responsible for essentially engineering about 10% of the dates that took place in the countries where the app was used. The idea of a dating app that works ‘too well’ and ends up in a long term relationship was a serious risk for the apps’ business models, or so Gupta argues. Apparently companies decided that for their purposes it was better to use machine learning and AI to engineer the algorithm to bring people together who were likely to feel attraction, but whose relationships were also likely to be volatile. I started thinking about what might happen if a child was conceived in one of these short and sharp relationships. That child’s biology would be, in part, algorithmically determined. The biopolitics of that were quite a lot to get my head around, but it did give me a direction for the graphics project, an idea that breeding aesthetic populations might also provide a way to visualise how machines understand data and ‘create’, and how art might emerge from that process. The work has now gone on for some time; probably longer than a lot of the relationships that gave me the idea in the first place.

A series of works exploring the development of meaning in generative aesthetics using micro feedback and a genetic algorithm. It consists of a website and a series of printed and boxed collage works.

The public website contains an enormous population of speculative works. Each of these works are generated by inheriting sequences of information - a sort of DNA - from their ancestors. These ‘genetic’ codes determine which elements appear in the work and in what form or constellation. The population changes over time by means of subjective ('natural') selection by me: micro feedback or 'likes'. This feedback - combined with visitor statistics and simulated aging - causes the genetic program to mutate and (arguably) improve over time.

When creatures reach their optimal state they are 'frozen' and translated into physical objects. These objects are layered in construction, partly transparent and square. They can be hung and watched from all sides.

[Featured in Rhizome's Net Art Anthology](https://anthology.rhizome.org/death-imitates-language)

Death Imitates Language

Just-in-Time

Time Management (scrum kanban)

Aureool (scrum kanban)

Trauma (scrum kanban)

Oyster (scrum kanban)

Inclusion (scrum kanban)

Deli Near .Info

This series of whiteboard can be considered depositions of the (user) uploaded content of the social media platform [Deli Near Info](/work/deli-near-info). At the time I was thinking a lot about the discrepancy between traditional art making which values the production of immutable, monumental objects, and the development of software and online publishing, which always remain somewhat fluid, and never fully reach  completion, or conclusion.

Whiteboards aid the collaborative process of software teams, by visualizing methodologies like 'scrum' or 'kanban'. They can always be erased, and their drawings are often complemented with magnets that stick to the surface, but never permanently.

These whiteboards can always be reconfigured, and information could be added, or removed at will, which complicated their functioning as art objects.

Delinear Whiteboards

Chrysalis (blue)

Chrysalis (mint)

Chrysalis (green)

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

Chrysalis Sculptures

 I Was Raised on the Internet

About

Assemblage (new)

Assemblage (About)

One night, while walking on Kottbusser Tor, I noticed all of the windows of the Commerzbank had been kicked in.

The treacly safety glass, armed by its viscosity, hadn’t collapsed to the attack though, but rather developed into intricate monochrome kaleidoscopes.

In between the glass and a crooked Luxaflex, hardly attractive yellow advertisements hung from aluminium cables (far too strong for their load): Zufriedenheit garantiert & Die Bank an Ihrer Seite.

It was only the day after that I realised the potential of the setup. But when I came back the windows had been replaced, the blinds straightened and the ads unchanged. My new Canon also remained untouched in my Muji backpack and I felt even more useless carrying a tripod around.

Back in my studio I summarised the situation in a few Google Image Search keywords to serendipitously find ‘Mannequins in broken shop window’. This would become the texture for my new sculpture.

Since I recently migrated to Berlin, the Deutsche Bank had not approved my credit score for a credit card yet. I decided to use the lively watermarked stock photo instead, as I could not legally acquire the image from the image bank.

This digital image to my (supposed) disposal was 1300 pixels wide and 867 high, and depicted two pale mannequins in black tuxedos, standing in a shopping window behind a huge crack in the glass (also take note of a plastic lily in the bottom right corner). Still visible in the disrupted reflection some Toyota Prius Taxis. This all overlaid with the earlier mentioned watermark (Photoshop blending mode ‘lighten’).

The aspect ratio of the image was 2 to 1, so I decided to have it printed 2 by 1 meter (which is roughly 79 x 39 inch). For it to still look good when printed on this larger scale, I had to pump it up to remain sharp, in a similar way the detectives of Law & Order SVU get their CCTV images of rapists enhanced.

The software to do this couldn’t be purchased without a credit card either so my unregistered version of ‘PhotoZoom Pro 5’ also added its watermark.

I convinced the man at the print shop this really was the image I wanted UV-printed on PET-G.

While assembling the sculpture it seemed undoubtedly the best decision to leave the protective foil on.

---

Installed as part of the exhibition <a href='https://ucca.org.cn/en/exhibition/art-post-internet/' target='_blank'>"Art Post-Internet"</a> at the UCCA Center for Contemporary Art in Beijng. This sculpture was lost by the museum and never found back.

Assemblage (everything vs. anything)

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

A found low resolution image (60×96 pixels) of a rug, enlarged factor 6 with my self-invented diagonal enlarger algorithm, then enlarged 4 times with a regular nearest neighbour enlarger.

A found GIF image (50×50 pixels) of a panda, enlarged factor 100 (5000×5000 pixels) with a self-invented diagonal enlarger algorithm.

Panda

A found GIF image (50×50 pixels) of a pizza, enlarged factor 100 (5000×5000 pixels) with a self-invented diagonal enlarger algorithm.

Pizza

I wondered, when enlarging bitmap images, if it were possible to come up with an alternative to square rectangle pixels. Why not draw the connections between enlarged pixels diagonally? This resulted in new textures, while remaining more truthful to the original structure and composition.

These images were calculated in 2009 and minted in 2022.

Diagonal Enlargements

Ethereal Others (When No One is Looking)

Ethereal Others .com

Ethereal Self .com

I made Ethereal Self at a time when my peers and I were making works that consisted of a single artwork with a single domain name. At the time these were known as ‘single serving sites’. Miltos Manetas, I think, was the first to recognise that this was a valid medium, the domain name. During this time, I became very interested in the people who were visiting the sites. 

Ethereal Self was a direct response to that interest. In a gallery context, you can see the people who come to see your work; however, on the web - at least in 2008 when this work was made - your visitors are essentially invisible. These were the first days of attempting to stream images over the web, and in terms of the work, I wondered whether it would even be possible to send images in this way. It was a rather complex process at that time, encoding the image in the browser, sending them to a server for decode, and then recording the image, but it was possible to do. The work became, for me, a way of returning the gaze of the internet. The idea that a work existed on the web but as the artist, you really had only a very vague idea who anyone seeing your work might be prompted me to try to find out. These people were watching me without my knowing, and it turned out, over the course of creation of Ethereal Self and Ethereal Others, I was watching them without their knowing too. 

In Ethereal Others, the people who visited the site were recorded, and sometimes these visitors would forget to turn their cameras off, and I would end up with hours of footage, some of it very private, that I didn’t know what to do about. Ultimately I created a script that would filter out all the movement by people in the images so the work could be shown in galleries and museums. Given that this was pre-Edward Snowden, pre-Cambridge Analytica, etc., people read it as a kind of activist work, warning about the dangers to privacy posed by the web, connecting your living room to the entire world potentially. Now, of course, everyone knows about it, and so that reading is less significant, but I find there to be a poetic quality to the empty interiors it depicts, and it reflects a kind of melancholy I felt at the time, wondering who all these people were, what they were making of my work. What did it all mean? Was there any value in any of it? I think there is, but a lot of that meaning is personal. 

Reflecting on the darker and more corporate turn the internet has taken in recent years, I’ve decided that what might have been a valid artistic position thirteen years ago has taken a different meaning now, and so I’ve deactivated the work at the present. 

Ethereal Self & Others

A remake of a Flash animation from 2008, but now 100% on-chain: no IPFS, no web servers, no dependencies ✲ responsive and interactive.

The background gradient and spinner colour adapt to your system settings for dark or light mode.

Field 1

Field 2

A remake of a Flash animation from 2008, but now 100% on-chain: no IPFS, no web servers, no dependencies ✲ responsive and interactive.

Field 3

Field 4

Field 5

A remake of a Flash animation from 2008, but now 100% on-chain: no IPFS, no web servers, no dependencies ✲ responsive and interactive

Field 6

A remake of a Flash animation I once made in 2008, but now 100% on-chain: no IPFS, no webservers, no dependencies. All code is contained in the smart contract. Responsive and interactive.
 
[Read more about this series...](https://harm.work/writing/field-2008-2023)   

[OpenSea](https://opensea.io/collection/field-harm-van-den-dorpel) | [Smart contract source code](https://etherscan.io/address/0xc1cb5ea3a3541af83b0417dc26e04628193a53d3#code)

Bison

Ostriches

Death Roll

Gaussian Goat

Dogggie

Owl.jpg

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

Resurrection (vii)

Resurrection (vi)

Resurrection (v)

Sleepwalker (iii)

Sleepwalker (ii)

Sleepwalker (i)

Resurrection (iv)

Resurrection (iii)

Resurrection (ii)

Resurrection (i)

The works in this series have an uncanny quality for me on multiple levels. In the first sense, the images themselves touch on the strange ways our minds work when we see the human body. The source images for these works were all found photographs. The images are all of people who are seen sleeping (or, quite likely, passed out). In composing some of them, I simply animated the prone bodies and then filled in the space where they were lying with some crude Photoshop work. In seeing the works, I was stunned at the way that once the body parts were animated and had assembled themselves, the images gave the sensation of seeing an actual body move. It certainly brought me into an awareness of my own body and the materiality of it, but also, in a curious and estranged way, a sense of the body itself as animate while simultaneously being an object, capable of independent mobility, but also capable of merging - categorically - with objects like furniture. 

These images are also uncanny for me in that while they are both animate and inanimate - ‘moving still’ is the term I use for them - they are also lodged in an unresolved space between video works and photographs. I originally made the works using Adobe Flash. They were intended to be seen on websites, and, therefore, become a moving image on an page of otherwise still images. That sense of the unexpected was crucial, for me to their meaning. Now that websites are no longer such a central part of the way people interact with the internet, these works have lost a significant aspect of their context, but that alienation, I think, lends them another kind of significance. 

When I made these images, most of the people who were discussing my work came from the world of photography, but now, when they are shown, people see them as ‘video art’. I definitely never conceived of them in terms of being video art, as the expectations around video and movement are very different. For my own part, I see them as a form of collage from the Net Art age, using the found images, cutting, and recombining of traditional collage, but without gluing and with a dynamic rather than static composition.  

The titles are somewhat ironic, but they also have a personal dimension. My father is a theologian in the Netherlands, and the Christian connotations of ‘resurrection’ are a part of the range of references the works encompass. Perhaps that is an aspect of why they are so uncanny to me, the ways in which they gesture toward things I can apprehend but not fully comprehend. 


Revenant Series

Monochrome algorithmic animation of figure 14 of the Buckminster Fuller geodesic dome patent from 1965

Geodesic Dome Patent Drawing (Fig. 14)

These are some of my oldest works. The originals date to 2005 when I was still in art school. I found the source images for these works by browsing websites - not really something one does today. Around that time, people would publish sites with Apache web server and essentially forget they were there, despite having uploaded their entire hard drive to them. I would go through sites like these and find clip art images of animals. There was a kind of amateurism about these sites and images that I liked. You wouldn’t find it today, as everyone uses social media and cloud-based technologies to display things online. 

The simplicity of those approaches is also written into the work. The pixel sorter is based on a very minimal set of local rules: from a given pixel, the sorter analyses to determine if the points immediately adjacent have pixels. If there is one, the image stays still, if not, then the current pixel moves down. It’s a simple process, but it gives the appearance of some kind of physical law being applied to the image, a kind of digital manifestation of entropy. Or maybe a bit like cellular automata even.  

Pixel Sorters