Inspired by Dutch artist Piet Mondrian. Made with an interest in color theory and a love for color in general.

Dot Grid

**Gels** is a science-inspired generative piece. Our algorithm simulates *gel electrophoresis*, a powerful experimental method in molecular biology used daily by thousands of scientists worldwide. In the lab, scientists "run a gel" to separate and visualize molecules such as DNA, RNA, and proteins. These molecules appear as patterns of bands when photographed, and those patterns can be used to interpret the results of experiments. 

The DNA band patterns in this work derive from combinations of a simulated experimental data and real-world data, including DNA sequences that encode several variants of the SARS-CoV-2 spike protein, and the corresponding mRNA vaccines. Our algorithm first generates plausible sample tubes that typically contain one or more DNA fragments. Then, each sample is distributed and "run" on a simulated gel to create the characteristic band patterns that might be observed on real gels.

Our simulations also take into account human error — mistakes are common in the lab, especially for novice researchers, but they can also lead to visually interesting results. For example, uneven salt concentrations or applying excess voltage can cause warping effects.

Finally, we aim to leverage proceeds of this project to support future scientific research! We invite interested collectors to follow along with our future work.

Gels

***Vahria*** is an inquiry into the breaking points between two and three dimensions. Using spheres I attempt to create a tension between flatness and depth. Regular bodies become distorted blobs and circles. Occasionally, triangles are revealed, which are fundamental units in computer graphics.

The project is also a playful comment on constructivism and its dominance as a visual style in current generative art NFTs. In Vahria, I take the deconstructivist approach, favouring fragmented volumes, asymmetries and skewness, over linear forms, straight lines and right angles.

It is strongly encouraged to see the pieces on **full screen**. Otherwise, details of the renders are missed. You can export high-resolution images of the mints to disk by clicking on the artwork and pressing one of the following keys:

[1] : Full HD resolution (1440x1920)
[2]: 4K resolution (2880x3840)
[3]: 6k Resolution (4320x5760)

Vahria

The 1980's and 1990's as an iterative dream, computer-aided RAD designs. Essentially, an expanded iterative Memphis/Neo-Memphis style project meant to emulate the free-flowing and fun spirit of the movement in tight compositions that surprise with each combination and position generation.

autoRAD

The mid grey chiseled computer interfaces of 1997 have always reminded me of sculptures created in bas-relief, a technique going back to the stone carved petroglyphs that is as ancient as humankind's first steps in making art. The combination of illusion and tactility found in these interfaces shows our longing to have the computer experience to be part of the material world. Therefore it comes as no surprise that the programming language of Ethereum is named 'Solidity'. The blockchain is software, yet it behaves and feels like hardware.

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Window pays tribute to interface culture, and as such, the work is responsive and not scaling. When the work is viewed on a smaller scale, details will disappear, yet the composition stays recognisable. It is like stepping back to see a work from a distance. The work can also increasingly reveal more details when made larger. As a result Window will keep unfolding in the future as resolutions will grow.

The work follows standard window interactions. Double clicking or tapping the title bar will toggle between full browser and windowed view. On a laptop or desktop in windowed view, you can drag and resize your Window as you please. When made tiny, it makes for a nice profile pic. Clicking or tapping the background will cycle through three different background colours.

Window comes in seven latent colours and both in Windows Classic or Mac Classic style.
With the feature ‘Latent colour’ I look at the invisible steps within the procedure of a generative artwork. I love the idea that the script has chosen to feature a colour, but in a later step could fail to make it to the composition. By showing the colour as a feature, I try to extend the visual work with deeper invisible layers of the generative process.
Check the features to see what colour is seeded.

In honour of the blockchain and the web, the work is written in vanilla JavaScript, using no dependancies, and generates standard HTML DOM aiming for a closer feel of the user interface.

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