The increasing use of digital technologies and the gigantic amounts of data collected aroused the artistic interest in the question of how we can reclaim these technologies and use them within the artistic disciplines. The starting point for digital and analogue processes was the cellular automaton, which was presented as a universal calculation model around 1940 and was considered as an essential foundation of artificial life. In the individual works, digitally generated patterns of geometrical forms and grids are subjected to gestures in painting and interventions in drawing that reconstruct the digital codes and interact with them. The manifold interrelations and overlaps hence occur at the interface of analogue and digital and develop into spatial, dynamic systems that are used as an abecedarium in the composition. The interplay between the sterile computer-generated material and the pictorial elements as traces of human intervention, this competition between two cellular systems, creates the dynamic form language of this series.

The codes from the binary system taken as starting points, which provide the “cellular template” for the analogue implementation, are used in a calculation and thus make it possible to find a sub-section of the continuously self-developing algorithm. This approach also enables the controlled use of the cellular automaton. The combination of hard digital forms and outputs within the forms merges into the mesh of a new composition. Questions thus arising include in how far we have become dependent on technology and how we as a society deal with this. How will it be possible to exert an artistic influence and where can we promote human creativity in this context?

input:output, #1-6

220 x 150 cm,
silkscreen combined with painting on canvas,