Description
This collection will realized as a series of tokenized digital artifacts on the blockchain, wherein each phase undergoes algorithmic metamorphosis according to 120-day cycles, temporally anchored and authenticated via block-level timestamps. Such temporal structuring enacts the work’s interrogation of duration and emergence within a decentralized digital ontology.
Spatial Existence probes the ontological fabric of being by rendering time and perception as mutable phenomena rather than fixed coordinates.
Through an interconnected system of generative forms and temporal triggers, the work collapses chronological succession into a layered field of concurrent “nownesses”, inviting viewers to confront the instability of what they presume to be real.
Each particle of the work—whether digital or material—functions as a temporal index, inscribing past, present, and anticipated futures into a singular, polyphonic tableau.
By abstracting existence into data feeds and algorithmic processes, Spatial Existence dramatizes the interpretive leap through which subjective awareness constructs its own reality.
The artwork’s evolving visuals trace a dialogue between observer and phenomenon: shapes emerge, recede, and recombine in response to staggered timestamps and user interactions, demonstrating that perception is an act of continual world-making.
In this experiential loop, “reality” is always already a provisional hypothesis, subject to revision as new temporal layers accrete.
Ultimately, Spatial Existence enacts a philosophical experiment:
It externalizes the mind’s projective capacity, rendering visible the oscillation between continuity and rupture that underlies our sense of self and environment.
By materializing time as a generative medium and existence as a process of perpetual re-interpretation, the work affirms that the boundaries of the real are neither given nor final, but perpetually negotiated through acts of engagement.
Phases of Time
The annual cycle of germination, maturation, decay, and dormancy; has long shaped human narratives of life and meaning.
By folding this cycle, each generative artwork becomes a living emblem of nature’s recurring pulse, subtly undermining the myth of linear progress and foregrounding existence as a series of returns.
Ontological Germination
Ontological Germination marks the originary moment of emergence—a genesis of presence within an indeterminate field of possibility.
In this initial phase, being is apprehended as potentiality, a nascent awareness awaiting articulation.
The forms that begin to surface serve as visual metaphors for the first stirrings of consciousness, echoing the perennial philosophical question:
“When does existence begin?”
Here, the viewer is invited to contemplate the fragile, liminal state between non-being and becoming, where reality’s boundaries are soft and all configurations remain possible.
Germination is thus not simply an event but a meditation on the mystery of appearance itself—the birth of perception, and the dawn of interpretation.
Polyphonic Maturation
Polyphonic Maturation embodies the flourishing and deepening of existence as plurality, divergence, and synthesis.
This phase is characterized by the emergence of multiplicity:
Distinct temporalities, memories, and anticipations interweave to form a complex tapestry of experience.
The artwork becomes a site of resonance, in which various modes of perception and fragments of time coexist and converse.
Maturation, in this sense, is not linear progression but a dialectical unfolding—an ongoing negotiation between stability and transformation.
The viewer is prompted to reflect on the layered nature of subjectivity, where identity and meaning are never monolithic, but always in flux, contingent upon the simultaneous interplay of the now, the before, and the not-yet.
Existential Dissolution
Existential Dissolution inaugurates a meditative passage into transience, loss, and the reclamation of formlessness.
In this concluding phase, presence is no longer sustained in fixed contours but drifts toward indeterminacy, mirroring the inevitable dissolution that underlies all states of being.
This is not a negation, but an affirmation of impermanence as an essential condition of existence.
The work gestures toward the cyclical rhythm of emergence and withdrawal, inviting the observer to reckon with the limits of perception and the beauty inherent in incompletion.
Dissolution becomes a philosophical exercise in letting go—a recognition that every form is provisional, and that meaning itself is perpetually reconfigured at the horizon of disappearance.
Mediums
Title: Spatial Existence
Year of Creation: 2025
Technologies: Touchdesigner, Adobe Photoshop
Type: Pointclouds, 3D scanning
Print Materials: FA Archival Paper Photo Rag Metal, Wooden Frame, Glass, PLA Bio-Plastic Accessories
