Visual rhythm characterises the works of Licia He, Zach Lieberman and Sougwen Chung, and their processes connect to GAZELL.iO’s longstanding commitment to generative and abstract art. All three artists blend digital precision with organic fluidity, showcasing the vast potential of the intersection of computer art tradition of abstraction. Lieberman’s series Circle Stripe disrupts the circle’s perfect symmetry by infusing light and colour into concentric shapes, creating a dynamic, almost three-dimensional effect. His work echoes mid-century automobile posters and American modernists like Kenneth Noland and Georgia O’Keeffe, while introducing elements of playful randomness via his distinctive code-based aesthetics.

Like Lieberman, Licia He finds playfulness and transcendence in geometry, a battle of order and disorder often explored by early computer-art pioneers. He uses self customised plotter machines to paint with watercolour on paper, creating dynamic and colourful compositions, reminiscent of the Orphic Cubism of Robert and Sonia Delaunay. With a background in Information Science and data visualisation, He began exploring web-based generative art in 2018, fascinated by the potentialities of human-machine collaboration. Over recent years she has fine-tuned her translation of code-based design into the plotter-produced final works which carry the spontaneity of a human touch.

Expanding on this perspective, the work of Sougwen Chung captures the dynamic exchange between artist and machine. Study presents artefacts from the artist’s research with the fourth generation of their Drawing Operations project, which often takes the form of live performances by Chung. Developed to examine robotic movement influenced by the artist’s own biosignals, the paintings merge calligraphic traditions with technology through a feedback loop of overlapping paint strokes.

Also exhibiting on the booth, Adesola Yusuf draws on African identity through digital collage, and the reimagining of history and present-day narratives in Lagos, Nigeria. His work skillfully combines figuration and abstraction, looking at the patterns and colours borrowed directly from the streets of Lagos. This formal experimentation is often combined with an acknowledgement of the challenges that reflect the city’s dualities. Since 2020 the country’s financial system has experienced dramatic shifts thanks to the widespread adoption of decentralised blockchain currencies. Reflecting on this, Yusuf’s vivid compositions create a new form of Afrofuturism, blending elements of conventional form with contemporary digital mixed-media techniques such as photography, digital illustration, and collage.

Monica Rizzolli’s Dance to forgotten noise (2023) is a generative algorithm that continuously produces new compositions of a synthetic landscape. Each image is a temporary snapshot of an ever-changing scene; leaves move through space, flowers shift, and rocks appear momentarily weightless. The work reflects Rizzolli’s interest in the intersection of nature and computation, using algorithmic systems to explore movement, transformation, and impermanence within a digital environment.

Primavera De Filippi integrates blockchain and AI into her practice in a more direct way, encouraging the viewer to interact with the pieces and question individual agency versus collective systems. Her recent work is based on ecological structures and the ethics of decentralised technologies, offering a commentary on environmental sustainability in relation to the technology humans use daily. For Art Dubai Digital, GAZELL.iO is debuting Arborithms (2025), in collaboration with Nguyen Wahed and Distributed Gallery — a generative limited series based on digital trees that possess evolutionary dynamics, allowing its collectors to create new ‘species’ of tree by cross-breeding existing ones.

Resonating with De Filippi’s pieces are the works of CROSSLUCID, which explore the self as a network. The duo’s AIgenerated creations are often based on hybrid identities and speculative futures, blurring the line between human, machine, and the natural world via a fluid consciousness system. The Way of Flowers (2023-ongoing) on view is inspired by Karl Blossfeldt’s early photographic studies of plant structures, and explores computational botany, transforming data into ghostly floral forms, in balance between organic and synthetic. The series of both De Filippi and CROSSLUCID open up perspectives on how networks can be used to generate new forms, suggesting a future where natural and digital life merge.

GAZELL.iO is thrilled to present artists who employ digital tools not only for aesthetic exploration, but to challenge societal structures and human agency. These approaches resonate with the increasing interest in how technology can influence and enhance the human experience, pushing the art world toward a new, speculative space where narrative, identity, and form are fluid, interconnected, and ever-evolving.