In Pose Sittings, the bodies of seventeen people from various ages, body types and professions adopt seven bodybuilding postures. The series examines the act of posing and the obsession with self-image promoted within certain digital  culture communities. The need for uniformity, the ideal model and the obsession with the personal view that we have  of ourselves seems to be the main goal that gets adopted within digital communities to pump up popularity and likes.  Danceavatar questions the concept of “normality” while suggesting that such ordinariness can be an uncomfortable  image that is forced upon users.

"Fusing binary code with scrawling handwritten script, Cursive Binary is a proposed language invented by poet and artist Sasha Stiles, offered as a mode of transhuman connection and communication here at the dawn of the Novacene era.

This piece was created for "MEMENTO MINTI - If you stop contributing, you will be forgotten," a 2022 group show at the Museum of Contemporary Digital Art. Curated by Filippo Lorenzin and Marie Chatel, this exhibition explores the thin line between self-promotion and survival strategy in the making and sharing of digital art." (Sasha Stiles)

851px x 315px is a performance that took place from 12th September to 1st November 2012. The work consisted in  collecting a series of images that accidentally fit exactly the dimensions of the Facebook cover (851px x 315px) by  looking at a period before the advent of the Facebook timeline. 

Lorusso highlights the boundaries that the interfaces of social media platforms impose on users and how these  dimensions shape one’s expression, as if it were an advertising banner. Additionally, the performance reflects upon  the construction of identity that takes place on dominant forms of social media, through a rejection of any personal  expression which is substituted by a set of rules such as picture dimensions and time.

Jisu Choe’s triptych explores the restlessness of engaging online all the time. The three works are colourful and  visually attractive. It is only after they have gone beyond their pop appearance that viewers notice the dramatic tone  underlying the artist’s comic style. 

The bright colours in these illustrations are reminiscent of those the public sees on the backlit screens of their digital  devices. Psychological pressure can take shape using aesthetics that are as funny as they are oppressive. In Anxiety,  a female character is burned out, covered with emojis and social media logos that form a communicative entropy  that does not give the possibility of self-expression.

Jisu Choe’s triptych explores the restlessness of engaging online all the time. The three works are colourful and  visually attractive. It is only after they have gone beyond their pop appearance that viewers notice the dramatic tone  underlying the artist’s comic style. 

The bright colours in these illustrations are reminiscent of those the public sees on the backlit screens of their digital  devices. Psychological pressure can take shape using aesthetics that are as funny as they are oppressive. In Anxiety,  a female character is burned out, covered with emojis and social media logos that form a communicative entropy  that does not give the possibility of self-expression.

Jisu Choe’s triptych explores the restlessness of engaging online all the time. The three works are colourful and  visually attractive. It is only after they have gone beyond their pop appearance that viewers notice the dramatic tone  underlying the artist’s comic style. 

The bright colours in these illustrations are reminiscent of those the public sees on the backlit screens of their digital  devices. Psychological pressure can take shape using aesthetics that are as funny as they are oppressive. In Anxiety,  a female character is burned out, covered with emojis and social media logos that form a communicative entropy  that does not give the possibility of self-expression.

Sasha Stiles proposes a language for transhuman communication, merging the human and the machine through  a seamless “transbinary” font. Cursive Binary is shorthand for the desire to transcend simplistic, reductive systems  in favour of infinite possibility, and reflects a deep urge to connect. The 0s and 1s written by Stiles create elegant  and complex patterns that require the viewer’s intellect to decipher; the artist’s handwriting explores the possibility  of engaging an intimate relationship with technology, where numbers and the logic of the binary code are mediated  by human sensitivity.

Sasha Stiles proposes a language for transhuman communication, merging the human and the machine through  a seamless “transbinary” font. Cursive Binary is shorthand for the desire to transcend simplistic, reductive systems  in favour of infinite possibility, and reflects a deep urge to connect. The 0s and 1s written by Stiles create elegant  and complex patterns that require the viewer’s intellect to decipher; the artist’s handwriting explores the possibility  of engaging an intimate relationship with technology, where numbers and the logic of the binary code are mediated  by human sensitivity.

Composed of digital animations of zig-zagging black bands moving across patterned fields, the OUT MY WINDOWS series by Nicolas Sassoon explores the effects of the persistent presence of electronic technology on our visual  experience of the outside world. The windows the artist refers to are both those on his computer screen and the  ones from which he sees the world outside his studio. The patterns are geometric but the movements are so smooth that they look like sea waves reflecting the sunlight. The artist suggests a communion of binary grammar and  human emotion with elegant and hypnotic animations that get fixed in the viewer’s retina.

Composed of digital animations of zig-zagging black bands moving across patterned fields, the OUT MY WINDOWS series by Nicolas Sassoon explores the effects of the persistent presence of electronic technology on our visual  experience of the outside world. The windows the artist refers to are both those on his computer screen and the  ones from which he sees the world outside his studio. The patterns are geometric but the movements are so smooth that they look like sea waves reflecting the sunlight. The artist suggests a communion of binary grammar and  human emotion with elegant and hypnotic animations that get fixed in the viewer’s retina.

Composed of digital animations of zig-zagging black bands moving across patterned fields, the OUT MY WINDOWS series by Nicolas Sassoon explores the effects of the persistent presence of electronic technology on our visual  experience of the outside world. The windows the artist refers to are both those on his computer screen and the  ones from which he sees the world outside his studio. The patterns are geometric but the movements are so smooth that they look like sea waves reflecting the sunlight. The artist suggests a communion of binary grammar and  human emotion with elegant and hypnotic animations that get fixed in the viewer’s retina.

Composed of digital animations of zig-zagging black bands moving across patterned fields, the OUT MY WINDOWS series by Nicolas Sassoon explores the effects of the persistent presence of electronic technology on our visual  experience of the outside world. The windows the artist refers to are both those on his computer screen and the  ones from which he sees the world outside his studio. The patterns are geometric but the movements are so smooth that they look like sea waves reflecting the sunlight. The artist suggests a communion of binary grammar and  human emotion with elegant and hypnotic animations that get fixed in the viewer’s retina.

Composed of digital animations of zig-zagging black bands moving across patterned fields, the OUT MY WINDOWS series by Nicolas Sassoon explores the effects of the persistent presence of electronic technology on our visual  experience of the outside world. The windows the artist refers to are both those on his computer screen and the  ones from which he sees the world outside his studio. The patterns are geometric but the movements are so smooth that they look like sea waves reflecting the sunlight. The artist suggests a communion of binary grammar and  human emotion with elegant and hypnotic animations that get fixed in the viewer’s retina.