From Noise

Day Gardens

 is an algorithmic response to the notion of the gesture, and to gestural abstraction as practiced in the 20th century. It asks what becomes of the gesture when the hand no longer directs the tools of creation, and whether the vitality associated with spontaneous mark-making can persist in a computational environment. The work explores the distinction between the “native gesture”, the marks that arise naturally from a medium, whether the dashes and dabs of Joan Mitchell or Cy Twombly or the straight lines and pixels native to code, and the “translated gesture,” in which the essence of a mark-making style is reconstructed within a domain where it does not organically belong.

, the spontaneous gestures of painters, along with the density and chaos of urban graffiti and sticker clusters, are translated into algorithmic structures. This process raises questions about the nature of spontaneity itself: whether it depends on bodily action or can emerge from the controlled introduction of randomness, and whether carefully crafted chaotic moments can carry the same meaning as those made by hand. The work reflects how dense accumulations of disparate marks, each chosen independently, without regard for harmony, can transcend their initial disorder and reach a state of complex equilibrium, where the competition for attention ultimately produces a cohesive visual harmony.

 debuts at Zero 10, Art Basel Miami Beach in 2025 with SOLOS. Iterations #1–3 are available with a framed 48 x 60 in (122 x 152.5 cm) print on wood panel with gloss varnish; iterations #4–12 are available as prints on panel upon request for a limited time.