asymptotic system key
generative + abstract + conceptual
asymptotic system key consists of natively digital art objects — still images, motion, and generative systems — made through photography, drawing, painting, digital manipulation, scripting, and selection. The practice treats reference, process, transformation, and closure as parts of one image-making system.
The works are abstract: minimal / monochrome set against rainbow / vivid, built from pattern, texture, seriality, variation within repetition, dreamscapes, and the color lavender. At their strongest, they read like visual cortex artifacts — images from the moment before perception resolves into representation, where order begins to emerge from chaos.
The practice is collaborative in its inputs. Teresa's gestures and material expressions — paint, color, texture, sound, and mark — enter as live, judgment-bearing contributions. I photograph, frame, select, and process those moments through digital tools, turning physical expression into source material for a multi-media image-making system. The collaboration is another bounded-generativity form: not a hollow middle, not instructed realization, but expressive contribution folded into a shared body of work.
studioLeoV is the child sub-surface of this practice: LeoV's drawings carry a high-discretion expressive middle, while ASK frames, curates, and closes the body of work >> studioLeoV
The practice comes from learning the canon by going after it directly: gallery work, Dia:Beacon, Marfa, museums, artist books, and sustained looking. Its lineage runs through minimalist and conceptual art, abstract photography, appropriation, readymades, pop, and generative systems. Lyle Rexer's The Rise of Abstraction in Photography remains a key reference.
Signal + Noise
In The Signal and the Noise, Nate Silver explores a fundamental problem in our data-saturated world: we're overwhelmed with information, but struggle to discern what matters. We mistake noise — random fluctuations, distractions, false patterns — for signal. The more information we gather, the more confident we become, and yet, paradoxically, the less accurate our predictions.
This is the illusion Nassim Nicholas Taleb devotes his work to dismantling. His philosophy centers on a single, disruptive idea: the world is governed by randomness, far more than most people — especially experts — are willing to admit. Life is shaped not only by what is probable, but by what is possible — and possibility is wild, uneven, and deeply unfair.
In Fooled by Randomness, Taleb observes how easily we mistake luck for skill, how readily we attribute causality where there is merely correlation. We crave elegant narratives, but the real world doesn't play by our rules: it is opaque, nonlinear, and above all indifferent to our expectations.
Most data hides the tail risks — the rare but catastrophic events that dominate history. Much of what matters — revolutions, market crashes, pandemics, love, success — emerges from the extreme, not the mean. When Black Swan events strike, they catch us off guard because we built our models as though tomorrow will behave like yesterday.
The antidote is not better prediction, but humility. Not resilience, but antifragility — systems that gain from disorder. Nature evolves through chaos: forests renew through fire, ideas through failure, species through mutation. Stop optimizing for calm; design for stress, invite error, thrive on volatility.
Silver and Taleb converge in a call for probabilistic thinking and respect for uncertainty as a permanent feature of the human condition. What matters most lies not in the mean, but in the tails — the outlier that rewrites the narrative. To live wisely is not to impose order, but to let order emerge from chaos. Not to master uncertainty, but to dance with it.
generative // p5.js
stills // Adobe Lightroom
Like Art // conceptual
The point of Like Art is to confront the question of whether this constitutes, like, art… or not. The Facebook page that conveys it contains no posted images or status updates — only its creation event and a statement of purpose: "The sole purpose of this Facebook page is to convey an artwork consisting of the set of users that 'like' it."
Deceptively simplistic, this almost non-page belies its complexity. The boundary of art moved from the representational toward abstraction, then toward conceptual art defined by intent rather than the hand of the artist, and finally from a pure author toward involving the receiver through relational aesthetics. Like Art is a limit case: a non-object-based, conceptual artwork whose creation is perpetual and participatory — the artwork is the set of users who 'like' it. Made in 2012, it probes modes of social-media interaction that had not yet been deeply reflected in art. Inspired by John Baldessari, Tino Sehgal, and Lawrence Weiner's Declaration of Intent.