I craft creative algorithms. To explore and push the boundaries of art and design. I apply the creative potential of generative design-strategies to build novel forms of visual communication and interaction.

I design generative design systems that create dynamic identities and brands that are alive and breathing. I think about and develop interactive installations that illuminate the interdependency of humans and machines. And I craft audio-reactive experiences that connect algorithms with real people and spaces in unique installations.

In a world, defined by digital metaphors and caught in a spiral of ever-increasing complexity, communication is continuously moving towards a broader range of non-linear forms of dynamic content and experiences. Content, that both demands and fosters new approaches to expressing and evolving ideas while facilitating exciting and novel forms of dialogue.

In this world, traditional tools, approaches and mindsets become more and more obsolete as they are not or only partially able to express the more complex narratives that are shaping within the realm of a “digital native audience” and its natural relationship to a digital and virtual world.

These notions are what shape my motivation to research programming languages as a means of developing algorithmically driven art and design-systems. To build my own tools. And to utilize their inherent capabilities of speed, freedom, randomness, versatility and power. And even to ask completely new questions while postulating new theories and new patterns of thought.

“In an advanced technological culture the most important artist best succeeds by [..] transforming artistic and technological decision-making into a single activity.”

Jack Burnham (1968), Systems Esthetics

When you think about any creative entity surrounding you, is it rooted in the inconceivable fabric of thought that only the human mind is capable of creating or is it rather the outcome of a set number of rules, simply varied by its genre-defining factors and thus endlessly repeatable without human interaction? If we put the idea of reader-response criticism at the center of assessing art and design, does it really matter who or what created the captivating work in front of you?

Those questions are what drive me to experiment with deconstructing communication into its most essentials parts and delivering that essence to computer-algorithms -using computer-code as my paintbrush if you will- for a fresh interpretation in the realms of animation, corporate design, audio-reactive visualizations, art and data-projection. To find out what is possible – and which questions to ask next.