./spiral

｡𖦹°‧⋆˚࿔A field encounters its own history

Tools in these fields change quickly enough that work made only a few years ago can already bear the marks of a distinct technological moment. Artists are reopening early models, recovering obsolete or abandoned systems and reexamining work made before today’s generative-AI interfaces and blockchain-based markets became familiar. What once looked like a glitch, failure or technical constraint can now be read as period style and a record of process.

˚.𖦹⋆The work, continued

Robbie Barrat returns to the visual language of his early pix2pix and StyleGAN experiments, extending it through UV printing on Plexiglas, where the synthetic landscape takes on a new material presence. Helena Sarin uses her own early AI work as source material for ceramics, bringing model, image, object and token into relation. Rhea Myers’ Grinding revisits ideas from her earlier blockchain-based works, using code and cryptography to examine how digital systems shape authenticity, ownership and value.

𖦹˚༄.°Return, not retrospective

Taken together, the works place a recent history of generative, AI and protocol-based art within a longer lineage of artists working with computation, networks and machine-made images. ./spiral approaches that history as unfinished, asking what remains active within earlier works and what new forms they might now take.

The spiral gives this process a form: not a closed cycle, but a return shaped by everything accumulated in the meantime. Each artist determines how that extension takes shape, from a single work or sequence to a physical object or generative system. Co-curator Atay Ilgun is among the eleven participating artists. Rather than looking back at a finished chapter, ./spiral treats earlier work as material for what comes next.