Interface gallery

With over 20 years of experience in digital art, I am happy to help you build your collection – from early pioneers to today’s innovators. From Vera to Harm, from Rafaël to Manfred. Send me a DM if you're looking for a specific work of art!

Mark Wilson didn’t chase trends. He just followed the algorithm wherever it took him. Want to learn more? Read this very good article from @travess in collaboration with @lerandomart lerandom.art/editorial/trav…

What hits me hardest about Wilson? He used the computer to create something completely new. A visual language that only a human + machine could invent together. In the age of Midjourney it’s a powerful reminder: the real revolution started decades ago in someone’s living room /4

Imagine this: it’s 1980. A Yale trained abstract painter walks into a store, buys a cheap Texas Instruments TI-99/4A home computer… and instead of picking up a brush again, he teaches himself to code. That painter? Mark Wilson. One of the most important pioneers of digital art you’ve probably never heard of /1

In 1968, when computers were still seen as cold calculating machines, Jasia Reichardt curated an extraordinary exhibition in London called Cybernetic Serendipity. Artists, engineers, poets and scientists came together to explore the creative possibilities at the intersection of art and technology.The result was something remarkably ahead of its time. If you're curious about the early days of the relationship between computers and art, the catalogue is essential reading. The catalogue from Cybernetic Serendipity is filled with ideas, experiments and reflections that feel surprisingly relevant in our current AI era. You can read the full PDF for free here: monoskop.org/images/2/25/Re… Highly recommended! Take your time with it. thanks @monalisa for the tip!

Lovely afternoon at the @nguyenwahed gallery with these @harmvddorpel works. 📐📐📐

Long before museums or the internet gave it a stage, these legendary magazine covers (1953–1989) were quietly documenting the birth of digital art. Thanks @artmetaofficial

Waldemar Cordeiro created digital art in Brazil in the late 1960s. Completely independently from the European and American scene. Same ideas, different continent, same moment. That kind of parallel evolution is what makes early computer art a genuinely global story.

@RDToTheMoon 👉🤌🏻👏

I’m excited to share that I’ve joined the Toledo Museum of Art as its Web3 Community Manager. In this role, I’ll focus on supporting and growing the museum’s digital art community while helping build stronger connections among artists, collectors, builders, and broader audiences curious about this space. I’m grateful for the opportunity to contribute to a museum thoughtfully exploring how digital art, technology, and community can come together in meaningful ways. Make sure to give @ToledoMuseum a follow. More to come.

Sources - Hatched Lining, 2026 Generative algorithm, digital artwork as NFT Unique plotter drawing, framed behind museum glass, 470 x 585mm

Stained Unravel - Game, 2026 Generative algorithm, animation code fully on-chain

Final days! @harmvddorpel 's exhibition is closing soon. This is your last chance to experience it in person or secure the last available artworks. You can still visit until May 2 at @drmiminguyen in NY. Don’t sleep on this!#GenerativeArt #DigitalArt #ArtExhibition #LastChance #ContemporaryArt

Stained Unravel - De Stijl, 2026 Generative algorithm, animation code fully on-chain

Closing Soon | May 2nd This is the final week to see 'Senescenence', @harmvddorpel's solo exhibition presented in collaboration with @Interface_art. The exhibition brings together a body of generative animations built upon a cellular automaton in the tradition of Conway's Game of Life, where a minimal set of rules gives rise to extraordinary complexity. Alongside the screen-based works, the exhibition also includes a series of plotter drawings on paper — tracing the same generative logic into an anachronistic register. → 504 E 12 St, 10009 Preview a selection of works on display below 🪡

🔥In the late 1960s, Lillian Schwartz was already creating generative films & prints at Bell Labs. Using the most powerful computers on Earth… as one of the only women in the room. Her work is rare and radical.

Stained Unravel ~ Plotted works Exhibited as part of @harmvddorpel's Senescenence, an exhibition presented in collaboration with @Interface_art, ‘Stained Unravel’ is a series of seven digital works accompanied by four plotter drawings on paper. Stained Unravel is a series of generative works built from a cellular automaton, a system where simple rules create constantly evolving patterns. The physical drawings represent a different way of rendering the same system. The automaton generates the underlying shapes, but each work uses a second algorithm to translate those shapes into hatching: alternating lines that vary in direction and density to optically generate a multitude of colours from a limited set of ink colours that can be translated by a plotter into physical form. Each drawing is effectively made twice: first by the system, then by the method used to draw it. It turns a live, evolving process into a fixed moment. Pictured: Hatched Lining, 2026 Unique plotter drawing on watercolor paper, 470 x 585mm Framed behind museum glass Digital artwork as NFT

@PaperMed_art thanks for sharing!

“While other early computer artists saw the machine as a brush, Moles saw it as a mirror. Not a replacement for human thought but a provocation that forced us to rethink perception itself.” - fascinating thread on Abraham Moles, so relevant right now.

His ideas permeated everything. In 1972, Moles edited Art Ex Machina. One of the very first computer art portfolios ever published, with signed screenprints by Frieder Nake, Manfred Mohr, Georg Nees and others, edition of 200. And his theoretical foundation underpinned the debates that made landmark exhibitions like Cybernetic Serendipity (ICA London, 1968) possible. He wrote the theory that allowed the art to understand itself /4

While other early computer artists saw the machine as a brush, Moles saw it as a mirror. Not a replacement for human thought but a provocation that forced us to rethink perception itself. In Art et ordinateur (1971) he predicted that future art schools would be computer centers, fueled by psychological perception labs. "Emotion engineers" programming aesthetic pleasure He saw it coming fifty years early /3

Abraham Moles (1920–1992) was the quiet architect of a revolution. He was the first to treat art as measurable information. His Théorie de l'information et perception esthétique (1958, English 1966) made redundancy, surprise, and perceptual complexity the building blocks of aesthetics. Long before the algorithm existed, he had written its grammar /1