Living w/ digital art for more than 15 years. linktr.ee/aluanwang
Taiwan | Taipei
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When I was making the Polypaths series, I always felt the real heart of the project wasn't the final image, but the system behind it. The output is just what happens. The real magic is in the underlying logic. There are a bunch of ways to build a generative system, but with Polypaths, every single parameter is tightly linked. They all influence each other, and sometimes, when everything lines up just right, something almost spiritual just appears.
The pieces on @verse_works were curated by collectors. But for the @GalerieMet version, I wanted to take the lead as the artist. My goal was to push the system further and see what else it could do. I made a few subtle tweaks, a bit of magic, you could say, and adjusted how the parameters related to each other. The result was a set of works that felt different from the previous series. This whole process really proved to me that in generative art, the structure and architecture are way more important than the final output.
This is why the artist's version exists. It's not a replacement; it’s a way to show more of the system's inner life. It reveals how a complex, responsive structure can create an entire ecosystem of variations. It reminds me why I'm so passionate about generative art. It’s not just a tool for making pretty pictures, but a way of thinking, building, and seeing the world.
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Lately I’ve been painting with code instead of a brush.
I used to be obsessed with how pigments spread in water and colors melt into each other. Now I’m simulating those molecular dances through algorithms—and it’s even more addictive.
Brush trails emerge from mouse velocity, ink seeps into “paper” when it slows down, textures and reflections recorded in every frame.
Replaying the same path with a different seed—each run looks familiar, yet never the same.
It’s not about replacing ink painting.
It’s about keeping those fleeting mistakes and hesitations alive.
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April is almost here, I haven't been sleeping well these days, I'm really excited, are you all ready?
@fx_hash_
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Turner Light on @fx_hash_
2022/8/1 | 300 editions | NO WL
#generativeart #creativecoding #fxhash #tezos
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Today I’ve been working on how watercolor darkens around the edges as it dries. Inside the brush stroke, the tone changes with how much water there is. It’s frying my brain, but I love this kind of challenge. #p5js #brushResearch
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This project is an ink study made with p5.js.
It started when I tried to make my lines look less mechanical. Then I got curious about pigment buildup, paper layers, how brushes react, and how light moves across the surface.
I didn’t plan for it to go this far, but that’s what happens when you just follow the work and enjoy the ride.
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Developing the white brush was way harder than the black one.
White has to be layered with noise — coarse, fine, ultra-fine — like chalk rubbing against paper, powder caught in every groove.
Edges must stay sharp, so the contrast between bright and dark grains creates that flickering shimmer — the same subtle reflection of chalk dust under light.
Wet strokes are even trickier: dark edges, pale centers, that fragile moment when pigment dries.
Every deposit has to behave differently, so each stroke feels alive.
White nearly drove me crazy — took five times longer than black — but the result? Totally worth it :)
(1) dry brush (2) thick paint (3) wet wash (4) uneven pigment
Lately I’ve been painting with code instead of a brush.
I used to be obsessed with how pigments spread in water and colors melt into each other. Now I’m simulating those molecular dances through algorithms—and it’s even more addictive.
Brush trails emerge from mouse velocity, ink seeps into “paper” when it slows down, textures and reflections recorded in every frame.
Replaying the same path with a different seed—each run looks familiar, yet never the same.
It’s not about replacing ink painting.
It’s about keeping those fleeting mistakes and hesitations alive.
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Designing Polypaths feels like herding a hundred sliders, each tugging the next.Nudge one variable and three others misbehave.Sometimes the screen erupts into a cathedral of pixels; sometimes it collapses into rubble—both extremes are worth the detour.
When I heard this drop would be collector-curated, I loosened every safety net.I pushed the ranges until the system wandered far beyond the point where I can predict good from bad.
Why flirt with chaos?Because it hands collectors a real steering wheel—and because I’m gambling on that one-in-a-thousand spectacle.Inside this web of algorithms, a 0.01 % twitch in the noise field can hatch a creature no one’s met before.
Many say generative art lacks the “aura” of fine art.
To me, aura is intent made visible.I’ve spent two years pouring mine into this code, polishing until the logic itself started dreaming.
So here’s the invitation: help me summon an algorithmic monster.Spin a seed, tweak a parameter, and watch order and entropy wrestle in real time. One frame—just one—might cross the invisible line from lovely to legendary.That’s the thrill.
Because logic sometimes makes monsters,and monsters make the story worth telling.
@verse_works @GalerieMet
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More testing is in progress...
Is there still no "attribute" this time? What do you think?
@fx_hash_ @AkaswapCom
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1)Thanks to everyone's support, #GoodVibrations airdrop is all over. The album has a-side and b-side, and for me GV is the same. Behind it is a mathematical score made up of algorithms and logic.
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"Turner Light" is my last large edition work this year. My next task is to assist more physical galleries and schools in getting familiar with the world of web3.
#TurnerLight #fxhash
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If generative artists were to dedicate themselves to a single theme, I’d say nature is the ultimate source of inspiration.
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1)Finally, the day has come. Only 7 hours left until the public sale. Feeling a bit nervous, but I know I've given it my all.
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The iteration of this work is much higher than 300 editions, but I had a difficult choice considering the collectors and the market...
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#ChaosResearch
No feature, no attribute, believe what you see.
mint on @fx_hash_
12/28 12:30P.M GMT+8
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#chaosMemory Will be dropped on the same day.🤯
fxhash 1.0
Saturday, 16 April — 12:00 UTC
We will open the contracts for 48 hours straight for the event, and then we will fall back to the usual 8/14 opening schedule.
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I was invited by the Museum to have this series archived, where it will be used to recreate Taiwan’s native and extinct plant species.
The researchers are excited about the project. They pointed out that this is not just about plants growing—it’s about them being generated, giving the entire endeavor a deeper and more profound meaning.
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對我來說，市場根本還完全無法理解genArt，當我看到Golan Levin的曠世巨作Cytographia，竟然還只需要0.2e就買得到，就證明了這一切。
生成藝術有很多種表現形式，然而對我來說，最有趣的一定還是用簡單的規則，創作出最有趣的作品，正如同機器人三定律，引起了科幻小說的革命。所以我們才會時常看到藝術家們，翻玩細胞分裂機，就是因為它的動態，跟視覺構成，都不是在傳統美學的基礎上。
然而這正是最重要的一切，一個藝術流派的誕生，勢必要有新的美學，而演算法的美學的精神，在於邏輯的美感，也因此當我看到 @golan 的新作時，我感到無比的震撼，這是一種超時代的藝術，他領先時代太多，但作品必定恆久遠，因為他完全展握genArt的多種特徵、互動、演算、有機。
#Logic sometimes makes monsters.
每一個Cytographia都像是上帝無意間製造出來的有趣生物，Vera Molnár曾說過『有一個東西可以取代直覺，那就是隨機』，而Cytographia正完全凸顯了這樣的特質，它形塑出各種有趣的培養皿，充滿了有機的構成；genArt 完全就是Golan的遊樂場，他是徹底的game changer。
正如你在影片裡所看到的，像是蝌蚪般的小生物，彼此追逐，還能破壞了細胞的動態平衡，以及類似草履蟲的生物被擠壓逃跑；甚至你還能夠互動的把細胞裡的元素，轉移到新的個體裡，這真的是很不可思議。
最後，如果你要我選出2021年到現在，我最愛的genart，Cytographia一定排在前三；如果你相信藝術正在革命，新的世界會有新的美學，那麼你怎麼可以錯過真正的聖杯。
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Although I've been engaged in creative coding for more than a decade, 2021-2022 has still taught me a lot of things that art has moved.
The era of generative art is here, and this will be the new art movement that will go down in history.
#chaosCulture #fxhash
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It’s Taipei Art Week!
Polypaths is being shown on one of Taipei’s iconic landmarks.
If you’re in town, don’t miss it.
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fxhash.xyz/generative/slug/c…
Visitors to this exhibition are free to mint. To respect the rights of past holders, I am releasing 300 copies to the owners of #chaosmemory.
If you have a few copies of CM, you can get them for the same amount of #chaosculture. @fx_hash_ @ArtBasel
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aluanwang.com/turnerlight/
We can't know what the final address of the transaction record will be, but we can leave the best impression.
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I've spent all my XTZ on purchasing artworks, and I currently have over 5,000 pieces in my collection. I never tire of it.
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An artist doesn’t ask for much—only true madness.
This piece reaches a kind of spirituality, and seeing it moved me deeply.
Thank you to everyone taking part. There are only a few days left, and I’m ready to pour my whole life into this—going all in.
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drive.google.com/file/d/18GJ…
1)Each of the 167 collectors of "Chaos research" can use 32 xtz to mint a piece of "chaos memory" on 4/17 0:00~2:00 gmt+8 (within two hours)
time.is/zh_tw/GMT+8
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Presale starts on March 20th, with 30 out of 128 available for purchase. Public sale on April 4th (0.18 ETH).
If you are a collector of my work, please DM me so I can add you to the pre-sale allowlist.
#ETH @foundation
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In a crypto world overrun by memes, speculation, and market noise, I continue to believe in one thing: art, and the artists who create it.
Everything carries energy. And true artworks—especially in the generative space—are born from artists burning their time, their thoughts, their lives. That’s why I get genuinely excited to collect and create. Maybe it’s a form of soul capture?
I’ve always been fascinated by generative works inspired by cell-like growth. They feel organic, alive, mathematical—and strangely poetic. Some of my favorites: Ethereal Microcosm by @ciphrd (I own many), Cytographia by @golan , spaceplant by @spacefillerart , and stigmergy by @gengrdn . To see the world reinterpreted through code—there’s something deeply romantic about that. It’s true avant-garde thinking.
So when ciphrd launched Generations, I didn’t hesitate to collect a good amount of $ciphrd. Not just out of support—but because it felt necessary. I truly believe: only positive cycles can create a sustainable and balanced ecosystem.
Big congrats to the @fx_hash_ team.
This is just Day One.
Let’s keep playing for the next thousand days.
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