karoshirt

My artistic journey began with monsters drawn in primary school, continued with graffiti as I immersed myself in skateboard and hip-hop culture, and found formal grounding when I chose fine arts as my Abitur subject. Despite plans to teach art, my path turned toward environmental sciences — a Masters in data science and geoinformatics that led me into research and consulting. When the work drained me, I returned to making. Not to acrylics or spray paint, but to code. I began writing scripts that processed images in ways I couldn't achieve by hand: averaging hundreds of photographs into a single composite, projecting elevation data as LEGO bricks, casting computed shadows across historical survey maps. The tools I use are ones I built. Each series begins with a piece of software — a pipeline of algorithms that determines what the work can become. The code is not a means to an end; it is part of the artistic practice. The images that emerge are physically printed on cotton-rag paper. The pipeline that produces them lives in a repository. Both are the work. None of it is AI-generated — no prompts, no models. Every image is the direct result of code written, run, and refined by hand.