Nicolas Sassoon

Nicolas Sassoon Portrait

Mercy Thokozane Minah

Mercy 

p1xelfool

p1xelfool portrait

Linda Dounia

Portrait of Linda Dounia

Kenny Vaden 

Portrait Kenny Vaden

Shavonne Wong and Lenne Chai

Portrait of Shavonne Wong

Rumi Ando

rumi ando

Amy Elkins

Parker Day

Selfie (Parker Day)

Joni Sternbach

They’ve stayed. They’ve crossed. They’ve placed a coin under their tongue. 
Composed of 100 works born through a generative system, 0:RIVERS is an exploration of time, life, and death. 

They’ve stayed. They’ve crossed. They’ve placed a coin under their tongue. Composed of 100 curated works born through a generative system, 0:RIVERS is an exploration of time, life, and death. The vibrant pixelated scenes created by p1xelfool’s masterful code are infused with his musical influences, as much as they echo works by computational artist Nicolas Sassoon and light artists James Turrell and Dan Flavin. In his practice, colors and their various shapes and forms have the ability to trick the mind and bend time. On his digital canvas, the pixels seem to be alive, almost dancing, before they fade into darkness or generate new pixelated galaxies. 

0:RIVERS

Mercy Thokozane Minah explores intimacy and its numerous forms in queer Black life. In Press Play, the self-taught South African artist pays homage to the intimacy of sport as a leisurely and rigorous cultural currency that connects people from all walks of life, emphasizing how it fortifies Black queer and trans communities.

The 20-piece collection of digital paintings - some combined with photographed skies - is a study of Black queer bodies in motion. Press Play posits how they interact with environments dedicated to play, what their relationship is to competition, how they orient themselves towards winning as well as the catharsis and pleasure of leisure.


In *Press Play*, Mercy Thokozane Minah explores intimacy and its numerous forms in queer Black life. The self-taught South African artist pays homage to the intimacy of sport as a leisurely and rigorous cultural currency that connects people from all walks of life, emphasizing how it fortifies Black queer and trans communities.

The 20-piece collection of digital paintings - some combined with photographed skies - is a study of Black queer bodies in motion. *Press Play* posits how they interact with environments dedicated to play, what their relationship is to competition, how they orient themselves towards winning as well as the catharsis and pleasure of leisure.

Press Play

Reflecting on issues of discrimination in face recognition technology and the lack of representation of non western artworks in GAN generated art, Linda Dounia brings the first large scale AI drop by an African woman. Working off her own works with acrylic painting, Dounia, who has originally caught the attention of the crypto art world as an illustrator, makes a bold move into generative art.
Spannungsbogen is a series of AI generated animations which are outputs of a GAN trained with 2,000 abstract acrylic vignettes hand painted by the artist. These outputs are then arranged following an indexing system that considers form, colour, and texture. 
The work is inspired by the Fremen of Frank Herbert’s Dune, and the relationship of this group of people with the mighty sandworms. In Herbert’s words, spannungsbogen is ‘the self-imposed delay between desire for a thing and the act of reaching out to grasp that thing’. It’s an ode to the invisible creatures in the cracks and crevasses of the world, patiently lying in wait for their turn to freely exist.
Spannungsbogen is a conversation between artist and machine, a dialectical search for meaning between a thinking mind and a feeling one, and an ode to the quietly brewing resistances within us and throughout the universe. 


Reflecting on issues of discrimination in face recognition technology and the lack of representation of non western artworks in GAN generated art, Linda Dounia delivers the first large scale AI drop by an African woman. Working off her own works with acrylic painting, Dounia, who has originally caught the attention of the crypto art world as an illustrator, makes a bold move into generative art.

Spannungsbogen is a series of AI generated animations which are outputs of a GAN trained with 2,000 abstract acrylic vignettes hand painted by the artist. These outputs are then arranged following an indexing system that considers form, colour, and texture. 

This work is inspired by the Fremen of Frank Herbert’s Dune, and the relationship of this group of people with the mighty sandworms. In Herbert’s words, spannungsbogen is ‘the self-imposed delay between desire for a thing and the act of reaching out to grasp that thing’. It’s an ode to the invisible creatures in the cracks and crevasses of the world, patiently lying in wait for their turn to freely exist.

Spannungsbogen is a conversation between artist and machine, a dialectical search for meaning between a thinking mind and a feeling one, and an ode to the quietly brewing resistances within us and throughout the universe. 


Spannungsbogen

How does one convey a sense of space and materiality through digital abstraction? For fifteen years, Nicolas Sassoon pursued this question through his artistic practice, using the visual language of early computer graphics.

Each animation from SLABS is created using a moiré pattern technique and are rendered with streaks of hard-edged pixels and limited color palettes. The pixelated textures and colors are composed to divide the screen in horizontal and vertical arrangements, like slices of digital matter stacked against each other. The resulting animations appear as high-contrast, kinetic works that evoke natural features, geological formations, imaginary structures, or abstract compositions.

At large, these compositions relate to many histories of abstraction in painting, op art, moving image, and computer graphics: from the optical paintings of Bridget Riley to the moiré sculptures of Jesús Rafael-Soto, from the experimental video works of the Vasulka’s to the pixelated maps of The Legend of Zelda.

SLABS can be viewed both horizontally and vertically. SLABS can be displayed as “wallpapers” in both metaverse architectures and physical spaces. 


How does one convey a sense of space and materiality through digital abstraction? For fifteen years, Nicolas Sassoon pursued this question through his artistic practice, using the visual language of early computer graphics.

Each animation from SLABS is created using a moiré pattern technique and are rendered with streaks of hard-edged pixels and limited color palettes. The pixelated textures and colors are composed to divide the screen in horizontal and vertical arrangements, like slices of digital matter stacked against each other.The resulting animations appear as high-contrast, kinetic works that evoke natural features, geological formations, imaginary structures, or abstract compositions.

At large, these compositions relate to many histories of abstraction in painting, op art, moving image, and computer graphics: from the optical paintings of Bridget Riley to the moiré sculptures of Jesús Rafael-Soto, from the experimental video works of the Vasulka’s to the pixelated maps of The Legend of Zelda. 

SLABS can be viewed both horizontally and vertically. SLABS can be displayed as “wallpapers” in both metaverse architectures and physical spaces. 


SLABS

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