James Faure Walker

Loose Eight, archival epson print, 40 x 51 cm, 2007

James Faure Walker has been combining painting and digital approaches since the 1980s. He works with physical and digital material, playing on the contrast between the two. His recent exhibitions include solo shows in Berlin and London and appearances at SIGGRAPH, Digital Salon New York, the John Moores, Prospects Drawing Prize, RA Summer Exhibition, and "1979" at Bloomberg Space in London. In 1998 he won the international Golden Plotter prize at Computerkunst, and in 2002 he was awarded an AHRB Senior Research Fellowship.

Frank Richter

Frank Richter, 6d-hyperset, c-print, 2006

Frank Richter has been using a computer to generate his art since 1990. He seeks to amalgamate the historic precedents of computer graphics and science, involving research in spatial perception, dynamical systems and emergence. His work based primarily on multidimensional structures which grounded in the concept of hypercube and the self-developed language LTI ("Lingua Trium Insignium"). This is a language with only three letters and the multi-dimensional potential of complex constellations.
Frank Richter lives and works in Berlin. From 1989 - 1993 he studied Communication and Media Sciences.

Pascal Dombis

Géométries Irrationnelles, 2008, Vitry sur seine, FR Site specific digital print installation

Dombis initially worked with simplistic rules: drawing a straight line for instance. But then he used digital tools to reach the wildest proliferations possible. Visual forms appear (they are not intentionally programmed) out of the excessive enforcement of autonomous and simple rules. So Dombis does not consciously conceive a structure in advance. He lays down simple rules and lets them go through a series of interactions.
Dombis lives and works in Paris. He earned an engineering degree from the Insa University in Lyon. In 1987, he spent one year at Tufts University where he attended computer art classes at Boston Museum School and began to use computers and algorithms in his art. From 1994 to 2000, he participated in the fractalist exhibitions that were curated by the art critics Susan Conde and Henri-François Debailleux that used fractal theory to project a new paradigm for art.

Manfred Mohr

Manfred Mohr: p702a, 2000

Mohr started as a jazz musician. He began using the computer (1969) because of his growing interest in creating an algorithmic art. His early computer works are algorithmic and based on his former drawings with a strong attitude on rhythm and repetition.
Manfred Mohr is dealing for more than 30 years with the subject of a cube which he transfers in multiple dimensions. New and never returning constellations arise by the rotation of the cubes as well as by the incidentally fragmentary appearance of their lines. He confronts with the impossibleness of showing multi-dimensionality on a two-dimensional media and creates artworks that are aesthetically very convincing despite of his stringent conceptual approach. Due to the clarity of his colours and abstractions as well as by his affection to music one feels reminded of the works of Wassily Kandinsky.

Carsten Nicolai

Static 7, acrylic, magnetic tape, polyester, aluminium frame, 200 x 260 cm2005

Carsten Nicolai is part of an artist generation who works intensively in the transitional area between art and science. He seeks to overcome the separation of the sensual perceptions of man by making scientific phenomenons like sound and light frequencies perceivable for both eyes and ears. Many of the works seem generative, creating beauty from chaos.
Further aspects of his works consider the integration of chance as well as the inspection of the interchanging relations of micro and macro structures. Special interest he also puts on so-called self-organizing processes, for example the growing of snow crystals.

William Betts

Dry Season, 2005, Acrylic on composite, 42 x 84 inches

William Betts is a painter and a software engineer. He uses proprietary software and a linear-motion machine system and he devised to deliver single drops of paint with extreme precision, reproducing video images with tens of thousands of uniform dots.
He is interested in the ways in which technology can enhance seeing. He asserts that the roots of his images are in digital photography, industrial technology processes and, surprisingly, classical painting. His painted works are based upon dispassionate images from surveillance videos and traffic cameras, and retain their grainy, pixelated qualities

C.E.B. Reas

C.E.B. Reas, Process 11 (Software 2) 2006
custom software, computers, projectors dimension variable

C.E.B. Reas is an artist who employs ideas explored in conceptual and minimal artworks as focused through the contemporary lens of software. Reas’ software and images are derived from short text instructions explaining processes that define networks. The instructions are expressed in different media including natural language, machine code, computer simulations, and static images. Each translation reveals a different perspective on the process and combines with the others to form a more complete representation.
Reas is also notable for having created the Processing programming language. Along with Ben Fry they created the software while at MIT.

Vera Molnar

Vera Molnar, 25 Carrès (25 Squares), 1989/90Plotterzeichnung Ca. 44 x 44 cm, Unikat

Vera Molnar is a pioneer in the field of Digital Art. She mixed her constructivist approach with intentional interferences in the mathematic system. Her admiration for Paul Klee is present in her artworks as well as in her essays concerning art. In 1959 she created the "Machine imaginaire" to carry out algorithmic calculations at a time when computers did not even exist and concentrated early on the aesthetic possibilities of Digital Art.
Vera Molnar was born in Budapest in 1924 and worked since 1947 in France (Paris and Normandy). After an academic art school training (Beaux Arts) she makes non-figurative images.