In the still composition REAS-StN-GXL-0000028200-4096px.png, elements merge to create a texture with no foreground or background. The composition offers a perfect balance amongst fuchsia, blues and greens. Features indicate a form of movement, yet their shapes remain indiscernible. This wholeness most possibly results from Casey Reas process of layering. At each step of the creation, elements of the image follow different behaviours, which modifies their relationship with other pictorial plane components. The mesmerising visual is only the surface of a work that withholds many layers of code as an immaterial form of beauty. In the end, Casey Reas’ art combines visual and algorithmic delight.

REAS-xUT-000840-Seed-1147-2-4096px.png is a still composition that presents an ensemble of rectangles of different scales. The layering of shapes creates a matrix of interwoven elements. The result is a hypnotic work, binding nuances of blues and reds with khaki and beige undertones. In his art, Casey Reas combines visual and algorithmic delight. The artist investigates the aesthetics that can emerge from computational, open-end processes. At each step of the creation, elements of the image follow different behaviours, modifying their relationship with other pictorial plane components. In the end, the mesmerising visual is only the surface of a work that withholds many layers of code as an immaterial form of beauty.

Arnaud Laffond uses colour as a raw material, which he sculpts and manipulates digitally to build mesmerising patterns. With this still iteration of his video Clouds, the artist provides the opportunity to halt time and delve deeper into his elaborate colour palette. Laffond believes that, like when you find a shape in a cloud, what people see in his work is up to interpretation. An ode to the viewer and his journey at the encounter of poetical art motifs.

Arnaud Laffond uses colour as a raw material, which he sculpts and manipulates digitally to build mesmerising patterns. With this still iteration of his video Obstacle, the artist provides the opportunity to halt time and delve deeper into his elaborate colour palette. Laffond believes that, like when you find a shape in a cloud, what people see in his work is up to interpretation. An ode to the viewer and his journey at the encounter of poetical art motifs.

Diamond and triangular shapes sequences Gibson / Martelli's Parade. Some shapes bear bright colour gradients, while others display a black and white, contrasting motif. Part of the duo's larger project MAN A, the piece places the viewer as a discoverer and bears different understanding layers. Indeed, while the work is reminiscent  of tribal war paint and zebra stripes, the print conceals hidden motion-captured performers activated by a custom app. In doing so, the artists provide another depth to abstraction, whereby the device acts as revelatory to another realm of the piece.

In Explicitly Activist, colourful ribbons emerge from the grey background of the canvas. An ensemble of purples, reds, oranges and green marks come out of the composition. We notice a play of contrasts; the monotony of flat, subdued priming weighs the cheerfulness of painterly textures. This strategy further highlights Darcy Gerbarg's fascination with brushstrokes. Made in a 3D environment wearing VR goggles, this painting is a physical performance, a composition in space. We observe this depth of field in the ribbons' recesses and overlaps.

The artwork was printed painted in a 3DVirtual World at the Future Reality Lab, New York University, Courant Institute for Mathematical Science, with 3DVR Goggles, and then printed on canvas at Lightwork, Syracuse University.

P288_1526855524_large3 depicts a disassembled 4D hypercube. Pioneer Manfred Mohr developed his artistic vocabulary around the cube's geometry and its structure of 12 lines. The aesthetic reminds of black notes on a music partition, organised around a certain rhythm and logic. In this piece, the mathematical logic governs the visual. The artist calculated and drew his piece on a computer before plotting it on paper. His art departs from an emotional quest of aesthetics and favours the idea that creation should rise from rationality.

Random Froths is a celebration of colours, that, like ribbons, inhabit the space with their joyfulness and spirit. Fuchsia, reds, yellows, and greens form this festive ensemble, coming out of an ocean blue background. In Darcy Gerbarg's work, the lines bear painterly textures. What we see are brushstrokes. Made in a 3D environment wearing VR goggles, this painting is a physical performance, a composition in space. This process brings depth to the piece, which we observe in the ribbons' recesses and overlaps.   The artwork was printed painted in a 3DVirtual World at the Future Reality Lab, New York University, Courant Institute for Mathematical Science, with 3DVR Goggles, and then printed on canvas at Lightwork, Syracuse University.

With Abstract Shots Desire #6, Maurice Benayoun and Tobias Klein take abstraction to another realm. What we see is an informal and freestanding blue shape meandering. Yet the composition pictures a brain-powered representation of the idea of Desire. The artistic duo gives spectators the possibility to shape abstractions with their thoughts and control in real-time the evolution of an artificial organism. Each abstract shape takes the form of an abstract concept: Freedom, Desire, Consciousness, Power. From one participant to the next, the iterations refine, while partially inheriting from predecessors' vision. Far beyond allegories, human abstractions reveal the most human way to understand the world.

With Abstract Shots Desire #9, Maurice Benayoun and Tobias Klein take abstraction to another realm. What we see is an informal and freestanding red shape meandering. Yet the composition pictures a brain-powered representation of the idea of Desire. The artistic duo gives spectators the possibility to shape abstractions with their thoughts and control in real-time the evolution of an artificial organism. Each abstract shape takes the form of an abstract concept: Freedom, Desire, Consciousness, Power. From one participant to the next, the iterations refine, while partially inheriting from predecessors' vision. Far beyond allegories, human abstractions reveal the most human way to understand the world.

Brendan Dawes uses generative processes to create data visualisation pieces. The Art of Cybersecurity is a still image from a video of the same name. The shape of the work may look abstract, yet it represents a cybersecurity attack. Three visual components come at play. A mesh structure shows the governing system, while black obelisk objects represent the threats, and colourful threads depict the creativity needed to counter the attack. While data nurtures the making process, the resulting piece is a freestanding, ethereal, and organic object.

With his ethereal compositions, Mathieu Merlet-Briand explores internet materiality. In #DESERT, he gathers a database of online images depicting dunes of sand. Elements come together through the use of algorithms, bringing a myriad of pictures to inhabit his canvas. Hues of orange and yellow remind of the physical reality of the photographed subject. Meanwhile, elements come together through algorithms, bringing a myriad of pictures to inhabit the canvas. The fragments add up to form an abstract, bi-chromatic whole. While withdrawing from their initial matter, they show a weaving of relics from the world wide web.

This still composition from Snow Yunxue Fu results from a process of 3D imaging. The piece presents an ensemble of viscous material. Oranges, pinks and greens give volume and dimensionality to the representation. Meanwhile, elements at the centre of the image bear some mineral textures reminiscent of caves. Abstraction here comes from a lack of contextualisation. When isolated, the picture looks informal and non-representational. But the work comes from the artist’s video Karst, a multi-level virtual reality artwork, taking from natural formations to represent a liminal space. In this image, we see a move from the multi-dimensional to the limited, and from reality to the abstract.

With his ethereal compositions, Mathieu Merlet-Briand explores internet materiality. In #FOREST, he gathers a database of online images depicting the woods. Hues of green and yellow remind of the physical reality of the photographed subject. Meanwhile, elements come together through algorithms, bringing a myriad of pictures to inhabit the canvas. The fragments add up to form an abstract, bi-chromatic whole. While withdrawing from their initial matter, they show a weaving of relics from the world wide web.

In Clumps in a Meadow, Sara Ludy presents an informal composition of organic shapes bearing a high sense of touch. What we see is a continuation of Abstract Expressionists' focus on pure aesthetics. While the title refers to a scenic landscape, we recognise no symbolic objects or connection to our physical world. Iridescent light comes out of the canvas's top right to infuse the painting with a soft hazy touch, like in a dream. Colours, materiality and three-dimensionality bring viewers to gaze more deeply into the picture. While bright colours inhabit the canvas, bringing a sense of peace and calm. At ease, we explore a liminal space infused with digital materiality. We dive into a world where the organic and digital bind seamlessly into a new hybrid reality form.

Curvescape VII presents us with linework one would find in a sketchbook, with marks of pencils and charcoal. Their flow and continuity remind of the contour lines found in topographical maps. Yet the drawing retains a two-dimensional aspect, a flatness that contributes to the abstraction of the picture. Generative artist Kjetil Golid conceived this work from particles moving along a noise flow field. The data set provides a structure with which the artist plays. The result tells of Golid’s gameful approach to coding and his quest to create intricate aesthetic visuals.

Large orange brushstrokes, cyan blue curves intersecting at sharp angles and areas of dotted curvilinear sky blue lines compose Untitled 2. The work has a rustic, mechanical feel. Joanne Hastie painted the watercolour priming by hand and then built the abstract composition through Python code. A robot arm then plotted the loose acrylic brushstrokes at random positions accordingly. Abstraction reaches new realms in this collaborative vision of the human and machine relationship.

Black ink, material thickness and an overlay of textures pop out of Untitled (drain cartridge). With its vivid background of purples and blues, Chris Dorland creates a homogeneous whole from which glitches, alterations, and distortions arise. As part of his process, the artist manipulates print and digital media using a mix of outdated and digital hardware – scanners and printers, amongst others. In doing so, he provides a tangible record for information that would otherwise disappear as fast as today's media cycles allow. The result is a work where both context and aesthetics become abstract.

When first seeing |-| V | [b] one might think of a photograph, red straw pictures on a sunny day with radiant natural light, but the artwork could not have a more contrasted genesis. It all starts within a 3D environment as Harrison Willmott captures and distorts photogrammetries of his face. What we observe is a micro-vision of the artist’s portrait. Abstraction thus comes from a change of scale and perspective to an expressively tangible object.

CiAo (Code in Art Out) is a series of generative artworks which include source-code as part of the aesthetic object. Within this composition, geometry prevails, as we observe the repetition of a grid. Each pattern changes tilt, colour, and line weight: at once repeating and altering itself from the previous version. Together, the ensemble tells the story of a process, one of mathematical transformation and visual poetry.

In this piece of the Teratoma Series, Mario Klingemann explores flesh as prime material of his art. The stretchiness of skin mirrors the image distortion from the use of artificial intelligence. After building a photo bank of bodies, the artist processed his images to generate his black and white piece with adversarial networks (GAN). In this composition, flesh formations seem to compress as if forming a concrete block. The work’s aesthetic relies on contrasts of tones and opposition between firmness and malleability.

Blue Ocean is a composition that first brings to mind a physical reality. The texture of the paint, thick and fluid, gives it an utmost tactile feel. But the work is intangible. Gordon Berger conceives abstract art pieces through the use of blockchain technology. Each stroke is drawn on a tablet and uploaded onto the digital ledger. An algorithm then picks various brush strokes from different times and creates a unique composition at a given moment. In this piece, the result is an aspiring visual of deep marine and lighter blues. The artwork binds together machine and man creation and provides the viewer with a new understanding of materiality.

Nuances of emerald-green bring stillness and unity to the otherwise dynamic and turbulent composition of Untitled (zero-days exploits). As the title hints, we might be looking at the disruption caused by a computer system's vulnerability. The bug shows in the repetition and split of screens throughout the picture. Distortions in the image appear as part of Chris Dorland's process. The artist manipulates print and digital media using a mix of outdated and digital hardware – scanners and printers, amongst others. In doing so, he provides a tangible record to information that would otherwise disappear as fast as today's media cycles allow. The result is a work where both context and aesthetics become abstract.

In this piece of the Teratoma Series, Mario Klingemann explores flesh as prime material of his art. The stretchiness of skin mirrors the image distortion from the use of artificial intelligence. After building a photo bank of bodies, the artist processed his images to generate his black and white piece with adversarial networks (GAN). In this composition, bright and ghostly faces seem to distort and fade into folds of flesh. The abstraction relies on blurring lines into a monochromatic visual to present an uncanny vision of the body.

In Untitled 5, Sara Ludy presents an informal composition of organic shapes bearing a high sense of touch. Protuberances of various sizes and colours intertwine to create a delicate texture. The artist highlights recesses and provides depth to the piece using green, blue, red, and pearl nuances. The colour palette and the surfaces' rugosity show a refined approach to new ways of painting through software. With her strong focus on digital materiality, Sara Ludy offers a continuation of Abstract Expressionists' work on pure aesthetics. As peace and calm inhabit the canvas, the viewer is at ease to explore its liminal space. We dive into a world where the organic and digital bind seamlessly.

Turquoise, yellow and pinks spark out of this abstract composition. Colours fade into another into subtle, watery gradients as we observe a synthetic mimic of the dissolution principle. Yoshi Sodeoka enjoys delving from generative processes found in nature. From such a foundation, he built his algorithms and tested potential visual outcomes. Experimentation then led to the psychedelic and hypnotising motif of Synthetic Liquid 1.

In Untitled, a sphere appears before our eye, as if drawn from an ensemble of directional red lines. Using light as his media, Shohei Fujimoto relies on pure behaviours to build his compositions. Spheres appear as the artist records the movement and reflections of light within concealed 3D environments. With this optical vision, he brings a fresh look to exploring the pure geometry that has fueled abstract art from its beginning.

Nuances of reds and blues spark out of this abstract composition. Colours fade from one another into subtle, watery gradients as we observe a synthetic mimicry of the dissolution principle. Yoshi Sodeoka enjoys delving from generative processes found in nature. From such a foundation, he built his algorithms and tested potential visual outcomes. Experimentation then led to the psychedelic and hypnotising motif of Synthetic Liquid 4.

In Untitled, six spheres appear before our eyes, as if drawn from an ensemble of directional red lines (left) or white dots on its outline (right). Using light as his media, Shohei Fujimoto relies on pure behaviours to build his compositions. Spheres appear as the artist records the movement and reflections of light within concealed 3D environments. With this optical vision, he brings a fresh look to exploring the pure geometry that has fueled abstract art from its beginning.