1.While working on Polypaths, the parameter space became so large that there were moments when the output truly surprised me. I like to think of those moments, in a romantic way, as glimpses of emergence. Still very far away, of course. That is also why I have grown impatient with some idea. The logic is immediately visible and supported by strong language, but the structure still relies heavily on the artist’s individual will. There is nothing wrong with that. It simply remains rooted in an artist-centric way of thinking.

As we approach 2026, I find myself questioning this comfort zone. Do we keep believing in it, or do we allow chaos to interfere and push relentlessly toward emergence? This is why I am drawn to artists like #TheoreticalCivilization and #Ledina. Complex structures with sometimes very simple outputs. Systems that go beyond the artist’s full control. That loss of control is what excites me.

If we are hoping for something that truly exceeds contemporary art thinking, I do not think it starts from art history. It starts from algorithms, from logic itself.

2.When we say “this is code-generated,” it often functions less as an explanation and more as a protective umbrella.It shields us from a direct confrontation with traditional fine art, drawing a safe boundary: this isn’t hand-drawn, it’s another system.

While working on Inkfield, I was often asked: if you want it to look like ink painting, why not just paint?The answer isn’t romantic. I love that material, but I want to approach it with contemporary tools, to use reason to draw something emotional.The point was never to be identical to real ink.What matters is the gap that can never fully close.Those digital slips, those computed differences, are where generative art becomes truly interesting.

To be fair, this umbrella can also be a survival strategy.In a market that still favors traditional media, the label buys us time and space, sparing us from being judged by painting standards alone. It was necessary. But sooner or later, we have to admit that the soul of algorithms lives in those differences.A hundred years from now, all works will stand together.
No medium, no labels.Only one question remains: is this the best art it could be?

That’s the bar I care about.