Works Overview

Reference page based on the harm.work sitemap (scraped 2026-03-24). All works link to harm.work. For philosophical analysis of specific themes, see the concept pages.

Chronological trajectory

2004–2010: Websites, software, video

The earliest catalogued work: Markov's Window (2004) — geometric abstraction via Markov chains. The defining property of a Markov chain is that the next state depends only on the current state, not on history. This memoryless structure becomes a recurring reference point across the entire practice (→ randomness and pattern, protocol, taste, and systems).

Ethereal Self .com and Ethereal Others .com (2008) — websites as primary medium. Ethereal Others (When No One is Looking) (2008) links in the vault directly to the recursion thread (→ 876).

Diagonal Enlargements (2009): found low-resolution GIF images (panda, pizza, rug) enlarged by a self-invented algorithm — factor 100 in some cases. A found image passed through a custom process, producing a new kind of object. The enlarger distorts but preserves; the algorithm is authored but the source is not.

2011–2015: Assemblage, thermopaper, sculpture

The Assemblages series (2011–2018): hand-cut synthetic glass, digital prints, spherical structures. The philosophically central work: Assemblage (everything vs. anything) (2013) — the Kottbusser Tor narrative (→ 1301, assemblage identity, mediation and the archive).

Assemblage (About) (2018) shown at MCA Chicago in "I Was Raised on the Internet" — the title gestures toward documentation as constitutive: "About" is both a work and a meta-statement about the work.

IOU series (2014–2015): thermopaper mounted on canvas. Thermopaper is a thermosensitive material — its surface responds to heat, producing marks not through pigment but through chemical change. The titles (Leucocyte, Sonogram, Bacteria, Fastener, Pin, Ant, Nail, Agent, Bottle Cork, Instrumentation) suggest biological, medical, and mechanical micro-objects. (→ IOU (2015))

Chrysalis Sculptures (2015): the chrysalis as transformation-in-progress — neither larva nor butterfly. A state of suspended becoming.

Delinear Whiteboards: the Delinear.info platform materialized as physical whiteboards — Time Management (scrum kanban), Trauma (scrum kanban). Agile software methodology vocabulary applied to artworks; the project management board as aesthetic form.

2016–2022: Genetic algorithms, UltraChrome prints, NFTs

Death Imitates Language (2016–2021): software organisms bred by genetic algorithm, selected by the artist. The frozen outputs (Shtonk Vtejuwoh Bonifac, Vuwtvvyft Zcuviey Dayssuck) carry generated names — the algorithm names what it produces. The online genealogy contains "an enormous population of speculative works. Each of these works is generated by inheriting sequences of information — a sort of DNA — from its ancestors." The Autobreeder "autosurfs the massive genealogy, containing the entire population, bred by a genetic algorithm, and selected by micro-feedback." (→ subconscious computation, protocol, taste, and systems)

Algues Artificielles (2016–2022): UltraChrome prints. The titles have a strange affect — Bemused Aversatility, Floppy Candour, Bloated Taunt, Defenseless Qualm — like emotional states described by someone slightly outside the language.

Nested Exchange (2017–2022): works with names that resemble corrupted proper names — W. D. Sensualist, C. C. Rashes, Lammer Asbestos, Fissured Petrolling Mridangam. The title "Nested Exchange" suggests recursive transaction — what passes between levels of a nested structure.

Mutant Garden (2019–2022): evolutionary programming producing visual organisms. Mutant Garden Seeder (2021): 512+1 Ethereum NFTs. Mutant Garden Autobreeder: "dimensions variable, duration infinite, silent." Mutant .garden: "a website where users can live breed and mutate specimen."

Another Bag (2019): hand-cut brown paper bags, "based on the work 'Constellations' by Jean Arp from 1938." Arp's Constellations arranged elements by chance (Laws of Chance). The bags are cut, not found — but the reference locates the work within the Dada chance tradition (→ randomness and pattern, 878).

Recursive Intervention (2023): "Not so much a sculpture; rather a light, site-specific, observation. The exhibition space and the works in it are reflected by a ready-made mirroring inflatable, causing the space to contain a compressed version of itself." Recursion made architectural — the room as mise en abyme. (→ semiotic square, 878, 876)

2023–present: Resolution Paintings, Cloud Writings, plotter return

Resolution Paintings (2023): photographic exposures on metallic paper. Titles shift toward classical resonance — Synthesis Euphoria, Nacre, Rite, Hell, A Forest. Altibzz is named after an Autechre track.

Cloud Writings (2024–present): the dominant current series. Plotter drawings on Hahnemühle, Terschelling, Fabriano, watercolour paper. The titles are elemental and atmospheric — Helmgras, Breeze, Shroud, Valley, Atlas, Hail, Drift, Mold. Many works use probability as spatial logic:

• Atlas: "The probability of downward diagonal streams increases towards the bottom side of the drawing, creating the impression of curvature, as if hovering a planet."
• Valley / Poles: "Probabilities transition gradually based on the coordinates within the canvas (x/y)."

The plotter is philosophically distinct from a digital printer: it "moves around the drawing area in all directions, lifting and releasing its pen to draw lines" (Embroidery). It is a drawing machine, not a printing machine — it makes marks through physical gesture, not deposition. After a decade of increasingly dematerialized algorithmic output, the plotter re-introduces the trace of a moving arm.

Beads / Beads II / Beads III (2025): "Hand-coloured plotter drawing, based on the work Anni. The word 'bead' derives from Old English gebed, originally meaning 'prayer'." Prayer beads are a counting technology — computation as devotion. The works are generated algorithmically and then colored by hand: two processes overlaid, neither erasing the other.

Pression des pairs (2024): "Generative animation inspired by the work 'Quatre éléments distribués au hasard' by Vera Molnár from 1959." Molnár is a founding figure of computer art, working with rule-based systems before computers were available. Pression des pairs is French for "peer pressure" — the force that makes cells align with their neighbors. Each cell's rotation depends on its coordinates within the canvas.

Anni (sync) (2026): "Installed across 1 to 6 screens, each rendering the same work at an increasing level of resolution or granularity." The same generative work at multiple scales simultaneously — resolution as a dimension of the work, not a fixed property. Anni (unravel) (2025): "A derivative of Anni, deconstructing its generative logic. Whereas the original scans and builds from top left to bottom right in reference to the process of weaving, this work instead begins in a pri[vate point?]..." The generative logic is made visible by being reversed.

Naming patterns across series

The titles shift register across series — a gradient from computational opacity to lyrical legibility:

This is not a simple evolution from difficulty to legibility. It is more that each series finds a different relationship between language and image: generated names that have no semantic connection to the work; names that gesture toward identity without quite having one; names that describe an affect; names that name a thing in the world; names that name weather, terrain, geological time.

Exhibition venues (selective)

Key institutional presentations:

• New Museum, NYC (2010)
• Wilkinson Gallery, London (2012)
• Abrons Art Center, NYC (2013)
• American Medium, NYC (2015)
• Museum Kurhaus Kleve (2016)
• Schinkel Pavillon, Berlin (2018) — Proof of Work
• MCA Chicago (2018) — I Was Raised on the Internet
• MMCA, Seoul (2019)
• Stedelijk Museum, Amsterdam (2020)
• ZKM, Karlsruhe (2021)
• Nahmad Contemporary (2022)
• Upstream Gallery, Amsterdam (recurring)
• Takuro Someya Contemporary Art, Tokyo (recurring, current)
• V&A, London — three works in permanent collection

Series as philosophical concepts

Some series names are themselves conceptually loaded:

• Death Imitates Language — inverts Wilde's "Life imitates Art." If death imitates language, then language is a generative force that produces (and perhaps causes) death. The genetic algorithm "dies" organisms; the work inherits from ancestors.
• Nested Exchange — recursive transaction; what circulates between levels of a structure
• Algues Artificielles — artificial seaweed; organic form produced by artificial means
• Mutant Garden — domesticated mutation; evolution within an enclosure
• Cloud Writings — writing that dissipates; inscription that is also atmosphere
• Swallow, Only Shallow — a My Bloody Valentine lyric; immersion that doesn't go deep
• Window and Dream — Markov's window as both aperture (what you see through) and the mathematical object (a sliding window over a sequence)

See also

• Protocol, Taste, and Systems — the Dissociations → Delinear → Mutant Garden → Quantizer progression
• Subconscious Computation — Death Imitates Language and Autobreeder as instantiations
• Randomness and Pattern — Markov chains, Laws of Chance (Arp), probability as spatial logic in Cloud Writings
• Assemblage Identity — the Assemblages series and Everything vs. Anything
• Mediation and the Archive — Assemblage (everything vs. anything) as accumulated mediation