There are faces in the trees.
Combining a film negative with an unconventional material is a great way to make art because not only do you get some abstract and intriguing pictures, but you also get to play around with dangerous chemicals or do something that ordinarily would be looked at as stupid or insane. Everyone’s a winner.
It can also add an otherworldly quality to an image as the fractals of nature go to work on the film negative, reacting with whatever substance the photographer or artist has thrown at it. It’s part of the destructive/creative ying-yang duality of existence! Or something like that.
Though we carry it in our pockets, have let it invade our waking life, and ignore its many detractions for the cheap thrill of accessing it, the Internet remains mostly faceless to us. Like a faint memory, we feel we know it intimately but have no sense of its size, its scale, or its design. To give form to what we too prevalently consider a formless entity, we’ve rounded up some impressive attempts at capturing its likeness—from data visualization to caricature—to better answer the question: What is the Internet, anyway?
Holger Lippmann’s generative paintings are improvisations with code and form.