2016 MFA Goldsmiths, University of London (UK)

2013 BFA Gerrit Rietveld Academie, Amsterdam (NL)

2009 BSS Psychology, University of Groningen (NL)



2024 I’m Just Lying There at The End, De School, Amsterdam (NL)

2023 I’m Just Lying There at The End, De School, Amsterdam (NL)

2023 I’m Just Lying There at LungA Festival Seydisfjordur (IS)

2023 Bleach Pussy into the Birth Rites Collection (UK)

2023 Listing All New Features Of The Pioneer 900NXS2 at CoreCore Radio TNP

2023 I’m Just Lying There at SET London (UK)

2023 I’m Just Lying There at Rewire Festival the Hague (NL)

2023 Listing All New Features Of The Pioneer 900NXS2 via CoreCore at Radio TNP

2023 I’m Just Lying There at SPIELRAUM, De School, Amsterdam (NL)

2022 I’m Just Lying There via LI-MA at Lab111, Amsterdam (NL)

2022 Tripsitter at International Short Film Festival Oberhausen (DE)

2022 Tripsitter at Reneenee, curated by Home Cinema, Amsterdam (NL)

2021 I’m Just Lying There at ~ online

2021 Tripsitter at Lemoyne, Zurich (CH)

2021 Tripsitter via LIMA at Lab 111, Amsterdam (NL)

2021 Tripsitter at Pinkman Records // Acid Surfers Day Festival, Rotterdam (NL)

2021 Tripsitter at Roffa Mon Amour Rotterdam (NL) 

2021 Tripsitter at International Film Festival Rotterdam ~ IFFR (NL)

2021 Cosmos Carl – Platform Parasite, A Personal Voyage at Ephemeral Care, Online and Oslo (NO)

2021 Cosmos Carl – Platform Parasite, A Personal Voyage at The Exhibition is in Transit, Oslo (NO)

2021 Tripsitter at International Film Festival Rotterdam (IFFR, NL)

2021 Tripsitter at Video Art Festival Turku (VAFT, FI)

2020 Tripsitter at Laznia Center for Contemporary Art Gdańsk (PO)

2020 Tripsitter at Gh0stspace London (UK)

2019 What happens in Bond, Stays in Bond at Seager Gallery, London (UK)

2019 Cosmos Carl – Platform Parasite: A personal Voyage at Banner Repeater London (UK)

2019 Cosmos Carl at Page Not Found Den Haag (NL)

2019 Set Volcano at Cabaret Voltaire Zurich (CH)

2018 This Way Out (Bond-Ware) at La Plage Paris (FR) ~ Solo

2018 This Site is Under Revolution With Cosmos Carl at Moscow International Biennale for Young Art (RU)

2018 #KeepingALegacyAlive With Nora Hansen and Grant Moxom at Arp Museum Bahnhof Rolandseck (DE)

2018 This Side Up (Bond-Ware) at Safehouse 1 London (UK)

2018 Vat Notice 702: Works of Art (Bond-Ware) at Changing Room London (UK) ~ Solo

2018 What Happens in Bond, Stays in Bond (Bond-Ware) at Art Rotterdam Prospects and Concepts (NL)

2017 What are you willing to do…? with Nora Hansen at At7 Amsterdam (NL)

2017 The young collector (Bond-Ware) at Facebook Residency F8 Residency ~ Solo

2017 Corporated Culture: Art and the Quasi-Commons at ICA, London (UK)

2017 Movement of Obedience ~ Paperweight with Nora Hansen at DYE house 451, London (UK)

2017 The Artist Talk at South London Gallery, London (UK)

2016 Radio at, London (UK)

2016 How It All Threads Together at Margate Festival, Margate (UK)

2016 Mama Margaux at PANDO Enclave Lab, London (UK) ~ Solo

2016 In Memoriam of a Past Gallery Life at Goldsmiths Degree Show, London (UK)

2016 STANDBY | Everything You Know About Ducks and Other Noumena at Greenray, London (UK) ~ Solo

2016 6 New Truths (You Didn’t Know) About Ducks and Other Noumena at Greenray, London (UK) ~ Solo

2016 Swag Bag at GOLDSMITHSGALLERY, London (UK) ~ Solo

2015 #Magichour at Area51 and 6PMyourlocaltime, London (UK)

2015 Soft day light-, a clock ticks diligently, into the mirror at GOLDSMITHSGALLERY, London (UK) ~ Solo

2015 Eye Die Spy Resident at Cosmos Carl ~ Solo

2014 NF presents: Vrom Ee toe Bie toe Zie toe Die with NF at P/////akt, Amsterdam (NL)

2014 NF presents: From A to Be to See to D with NF at Kim?, Riga (LV)

2013 Indian Summer with Evita Vasiljeva at Fons Welters, Amsterdam (NL)

2013 The Rock I at Gerrit Rietveld Academie Degree show, Amsterdam (NL)

2013 Brushing a Guinea Pig at Slag op het slaak, Amsterdam (NL)

2013 Detox with Evita Vasiljeva at Rietveld Pavilion, Amsterdam (NL)

2012 Performance For Public at Torpedo Theater, Amsterdam (NL)

2012 Based On a True Story with Evita Vasiljeva at Kafana Box Office, Amsterdam (NL)

2012 Acting Is My Nature at European Exchange Academy, Berlin (DE)

2012 Shortcut at Fatform interlude pt. 1, Amsterdam (NL)

2012 #33 #47 #27 at Wongema, Groningen (NL)

2012 Shortcut at BERM Collectief, Amsterdam (NL)

2011 The Stone Head at Storage Space Exhibition, Amsterdam (NL)

2011 The Stone Head at De Zondvloed, Mechelen (BE)

2011 Spinning three Dadaists in their Grave with Pieke Werner at Aubette, Strasbourg (DE)



2014-2021 Cosmos Carl co-founder and curator of the online platform with Saemundur Thor Helgason

2021 Last Night the DJ Saved My Life with Nora Hansen

2017-2019 Let’s (L)Arp, performance group with Nora Hansen and Grant Moxom

2016-2017 Chinese European College of Accreditation, co-founder of with Saemundur Thor Helgason

2016 Elevator Pitch, co-founder of networking formula with Saemundur Thor Helgason

2015-2016 GOLDSMITHSGALLERY, director and Founder London (UK)



2021 Project funding by Mondriaan Fonds

2018 Josine de Bruyn Kops Fonds, Prins Bernhard Cultuurfonds

2016 Werkbijdrage Jong Talent, Mondriaan Fonds

2015 Fundatie van de Vrijvrouwe van Renswoude, Delft

2014 Fundatie van de Vrijvrouwe van Renswoude, Den Haag

2014 Excellent Talent Grant, Prins Bernhard Cultuurfonds

2014 Hendrik Muller Fonds

2014 Bekker la-Bastide Fonds

2013 Amsterdamse Fonds voor de Kunst



2020 Tokyo Bookfair via FanFare

2019 Kunst is Lang

2019 Artzine Reykjavik – An Interview With Cosmos Carl

2018 POIUYT Publication

2018 MMOMA Moscow International Biennale for Young Art

2018 FanFare Inc. Chapter 2: Tools

2018 VICE Cosmos Carl Allows Artists to Commandeer Amazon and Facebook

2017 AQNB Spreading like a slow virus

2017 AQNB The Rise of Online Residencies in All Their Incarnations

2016 Francesca Gavin Pro’s and Con’s of Online Art

2015 Dazed Digital When art meets digital technology

2015 OFFSOME Issue #2, Post-Internet

2015 I-D Magazine Cosmos Carl



CO-FOUNDER of Cosmos Carl

MUSIC snailaway

Selected snailaway DJ gigs at

OT301, Kanaal40, LungA Festival Iceland, RadioTNP, Grey Space in the Middle, Time is the new Space, MONO, POING, Big Toilet, Echobox, Bodysnatch Berlin,



Frederique Pisuisse (NL) is an artist , DJ and poet holding a Master Fine Arts from Goldsmiths London and BA from the Gerrit Rietveld Academie in Amsterdam. 

Through film, writing, music and performance, Frederique explores the topics of memory and trauma. She does this by following methodologies of somatics and body-politics, and borrowing tactics of various therapy forms for mental health issues such as depersonalisation/derealisation, as well as consciousness-expanding practices like psychedelics and non-duality.

Her poems, films and music are dissociative episodes in itself, exploring its creative potential by giving voice to the experience of “other”, an otherness of bodies, and how to live with this. 

As a DJ Frederique performs under the name snailaway. Landing from a fascination for syncopated drum patterns and ecstatic hypnotism, snailaway is dedicated to bringing sweat and joy to the dance floor. Her psychedelic cross-overs are a contagious form of effervescent editing through storytelling and somatic trance. 

Together with co-founder Saemundur Thor Helgason, Frederique runs Cosmos Carl, an online art platform hosting nothing but hyperlinks to artistic projects by over 200 artists, writers, thinkers and curators. Cosmos Carl focuses on the creation of more art in the public domain of the commercial internet.

Recent exhibitions, screenings and performances were at International Short Film Festival Oberhausen (2022), Home Cinema (2022), International Film Festival Rotterdam (2021), Video Art Festival Turku (Finland, 2020). Since 2022 they are a DJ resident at club MONO in Rotterdam.


LIMA Amsterdam



Design by Gaile Pranckunaite

Code by Mindaugas Ūba

Generously Funded by Josine de Bruyn Kops Fonds Prins Bernhard Cultuurfonds

If you would like to get in touch:


Soundcloud snailaway

What Are You Willing To Do… (2017)

What Are You Willing To Do… (2017)

At7 Amsterdam (NL).

In collaboration with Nora Hansen.

Inspired by the tradition of Nordic LARPing, a form of Live Action Role Playing with a high level of character, set and emotional immersion, Frederique Pisuisse and Nora Hansen are creating a LARP, that explores the potential power of agreed upon illusions. The potential power of this form of LARPing lies in the long term effect on the players and their changing relation with the set and props.

Part of the LARP evening was an investigation into audience participation. The evening consisted of a fixed timeline full of short performances of traditional ceremonies of Western Christian culture such as; the celebration of a birthday (with hats, cake, singing and candle-blowing with wish), a party with DJ/VJ, a Sinterklaas (and designated helpers), getting ready for a wedding (putting up wedding chair covers) for example. The wedding situation was used as a set for a Lecture Musical about Freeports, with acapella interventions by Nora. Another performance piece was a guided conversation about the symbolism of the objects with the audience.

There was also a makeup artist. To initiate the visitors as active players. One could choose between playing, and thus participating in the LARP, or ‘Ghosting’. In case the visitor would choose to continue as ghost; they would stay outside the LARP, but they would have to wear Ghost makeup.

This Way Out (2018)

This Way Out (2018)

La Plage, Paris (FR).

Photography by Aurélien Mole.

The site specific installation ‘This Way Out’ is part of an ongoing project about tax evasion in the art world. The Freeport plays an important role in tax evasion where works of art are “temporarily” stored, exempted from Value Added Tax, in climate controlled cells, rented by high-end art dealers and collectors.

In an attempt to enter the otherwise impenetrable concrete art storages, I watched promotional videos posted by the world’s most famous Freeports. The most relatable object inside the polished facilities, were the green little men running for the Emergency Exit. Within a fully automated climate-controlled warehouse, fire of all elements, forms the most catastrophic and irreversible threat and potential destruction of wealth.

In the video the viewer sees dark and empty industrial spaces exemplary for Freeport storage facilities. Human shadows walk in and out of the frame, seemingly unaware of the camera. In the scenes that follow, the viewer witnesses the shades inspecting sculptures and paintings, and the sealing of what seems to be some sort of deal.  

The video is projected on to the gallery window which is covered with a frosted-glass window foil. The frosted glass references the materials inside the Freeport, as well as the Freeport’s quintessential quality of protecting the confidentiality of tax free art sales and storage. Between the scenes, the video dips to black, leaving the viewer with the opaque frosted glass gallery window. The video fades in and out, just like the car headlights passing by on Boulevard Saint-Martin where the gallery is located.

By turning the viewer into an eyewitness of the sketchy activity happening inside the gallery, I tried to transform the space into a crime-scene. The stylistic choices of the video reference film-noir, in which crime is depicted by silhouettes and shadow-play.

Part of Bond-Ware

6 New Truths (You Didn’t Know) About Ducks and Other Noumena (2016)

6 New Truths (You Didn’t Know) About Ducks and Other Noumena (2016)

Greenray, London (UK)

‘If it looks like a duck, swims like a duck, and quacks like a duck, then it probably is a duck’ is a statement used to explain how we categorise and identify things using ‘abductive reasoning’.

How can objects change their meaning and identity according to their context. Are they sculptures, objects, ready-mades or props? Does art have an inherent meaning, or is meaning-giving is a process in itself?

The objects exist as sculptures at the mezzanine of Greenray until activated by various performances, events and rules. The sculptures traveled down to the main exhibition hall later on.

The Artist Talk (2017)

The Artist Talk (2017)

South London Gallery (UK). Invited by Cédric Fauq, part of The Conch.

This is a reading performance of the script of ‘The Artist Talk’. It was performed at the South London Gallery. The script is based on a text written by Nathalie Boobis , a curator I’ve worked with. The text about my practice includes background information about my work, stories I have told her, and references I have been using.

The script of the play is projected on the back wall, and forms the set design. Together with ‘the Audience’, ‘the Artist’ reads through the script that contextualises my practice. Everyone had found a copy of the script on their chair. They were scripted to say things they might not agree with, but were taken by the hand to behave as my perfect audience. Emotions such as laughter and surprise, were scripted and performed communally. Various audience members, such as the writer of the text and the curator of the South London Gallery, had a special role: complimenting my work, or critiquing the performance.

In the image the script starts melting from the wall behind me after taking of my long black dress covering my white outfit. I push the script up with my hands.

What Happens in Bond, Stays in Bond (2018)

What Happens in Bond, Stays in Bond (2018)

Commissioned by POIUYT for UNSEEN Photography fair (2018)

Art Rotterdam – Prospects and Concepts (2017). 

‘What happens in Bond, Stays in Bond’ premiered at UNSEEN photography fair as a performance. In the context of an art fair, the interview explores the role of the art object within an unregulated art market. The interview was broadcasted live from the fair, and the documentation of it is available as a podcast.

‘What happens in Bond, Stays in Bond’ exists also as video. Bond-Ware is a project about tax evasion and ways in which the art object is instrumentalised through infrastructures of tax evasion. The work investigates and speculates upon alternative functions and valuation of art, under the circumstance of dirty shippers, freeports and offshore finance.

Both the performance and the video consist of a whistleblowing interview between fictive character Richard, a former gallery director played by my father, and myself. The text of the interview is based on real interviews I did with big players from the London art world that want to remain anonymous.

In one of the scenes Richard describes the way in which he used to help his clientele to tax evade with the exchange of originals and replicas: “You tell the Freeport: ‘You think you have the original, but actually you have a replica in the warehouse, and we need to swap them. So, you take out the original and replace it with a replica”. This way, the replica stays in the warehouse and the original was taken out of the freeport without paying any VAT.

Part of Bond-Ware.

#keepingalegacyalive (2018)

#keepingalegacyalive (2018)

Arp Museum, Bahnhof Rolandseck (DE). Performance in collaboration with Nora Hansen and Grant Moxom.

Reintroducing performance in the Arp Museum that focuses solely on Jean Arp’s (and very little on Sophie Taeuber-Arp’s) sculptures. The poetry, dance and performance based character of both their practices are lost in the collection completely.

We wrote wedding speeches for Hans and Sophie, arguing that a wedding is a moment of reflection in a person’s life. Dressed up as wedding guests, we walked different routes through the (very large) museum, clinking a glass, and speaking to the museum audience as if they were the wedding guests of the Arp wedding.

One speech is written from the perspective of fellow dadaist Hannah Höch talking about feminism of that time. All speeches contain verbatim texts of the poetry of Hans in both English and German.

Mama Margaux (2016)

Mama Margaux (2016)

PANDO Enclave Lab, London (UK). Exhibition structure by Anne de Boer, original sculptures by Rieneke Pisuisse.

For this exhibition I invited my mother to take part in my exhibition with her work as a hobby sculptor. I worked together with her on a site specific installation in the basement of our house.

I wanted to exhibit her work filling it up-to-date according to contemporary art standards, where the sleek installation images are overly edited. In this case, you can see that the images have been overly Photoshopped. You can see that it has gone wrong slightly. Some dimensions are out of proportion and the intensity of the exposure, flattens out the depth of some of the sculptures.

This work is a critique on extensive exhibition texts over-contextualising the work; I fall victim for this as much as everyone. Putting much more weight on the content that actually present, exhibition handouts are often frankly full of shit. For example, in the text, I linked her work to second wave feminism and Donna Haraway, because she makes female figures.

The title is a pun towards the pedestals we used for her work, consisting of bottle racks.

Tripsitter (2020)

Tripsitter (2020)

Made for Gh0stspace

Shown at: International Short Film Festival OberhausenVideo Art Festival Turku, Finland and International Film Festival Rotterdam

Short experimental film 12’25

Tripsitter (2020) is a personal journey through various consciousness-expanding moments that the artist experienced during and after a traumatic trip with the hallucinatory drug DMT. By means of a poetry reading, the viewer is taken through an undefined model landscape. The scale model “Gh0stspace” forms the set of the film. Initially an exhibition space in which various exhibitions have been shown, in Tripsitter the model personifies the dark corners of the human mind. While the camera wanders through the model, you see shadows glide over the tranquil landscape. The seasons pass and a raven flies quietly through the decor.

The voice-over guides us past Ayahuasca ceremonies, meditation retreats, panic attacks and “Out of Body Experiences”. The diary-like text, written from a “stream of consciousness” gives the viewer insight into the recovery process after the development of a depersonalization/derealization disorder (DP/DR) of the artist. DP/DR This is a dissociative disorder in which people get the feeling that the world is not real, and after which the outside world looks like a movie or a film set. It is also an unwanted side effect of Post Traumatic Stress Disorder (PTSD).

Poster design by Bin Koh

I’m Just Lying There (2022)

I’m Just Lying There (2022)

Exhibited at: Rewire Festival the Hague, Proximity Music curated by iii at Amare the Hague, West the Hague, SET project space London, WYSIWYG Cinema the Hague, Lab 111 Amsterdam, SPIELRAUM at De School Amsterdam. Distributed by LI-MA.

‘I’m Just Lying There’ is a ficto-memoir about the filmmaker’s teenage relationship with her first boyfriend, a 36 year old man who was a pedophile. Through poems and pop songs, the film brings back memories of their grown-up dates. Having dinner at a restaurant for the first time without parents, or being picked up from her birthday in his Mercedes. 

The coming of age film looks at the shaping experiences in which the female body is first subjected to the male gaze, and therefore becomes an object of desire. The protagonist, who is 14 years old at the time of their affair, is pulled towards the sensual experiences of being with this man, and simultaneously feels the danger in these experiences. There’s a sense of dissolution of the self. She uses her intellect to separate and watch over the body she owns, a detachment strategy, whereby the scene appears to us in birds-eye-view. The bird, a raven with a scratch on her beak, accompanies us.

‘I’m Just Lying There’ is a haunted experiential short-film with music produced especially for the film. The visuals, consisting entirely of an African snail family crawling over a naked body, allow us to perceive the tactual sensations of memories. Time is warped and the body is stretched, creating a body-mind separation experienced while watching.

Music and mixes by snailaway

Music and mixes by snailaway

Snailaway by Frederique Pisuisse

Resident @ MONOmob1le
Founding member of PARAME-WORK w/ Glabra and DJ MFK

Landing from a fascination for syncopated drum patterns and ecstatic hypnotism, snailaway is dedicated to bringing sweat and joy to the dance floor. Their psychedelic cross-overs are a contagious form of editing through storytelling, aiming to deliver a bodily trance by playing at the higher end of BPM, unbound to a specific genre as long as it has a sexy bassline.

This Side Up (2018)

This Side Up (2018)

Safehouse 1 London (UK).

Part of Bond-Ware.

Soft day light-, a clock ticks diligently, into the mirror (2015)

Soft day light-, a clock ticks diligently, into the mirror (2015)


Imagine yourself as an art school teacher. It is early June, and soft day light leaves unwanted traces on white walls all over campus.

It is your task to mark the works of 49 Master students presenting their work in. No visitor will ever come.

A clock ticks diligently – into the mirror

Movement of Obedience – Paperweight (2017)

Movement of Obedience – Paperweight (2017)

DYE house 451, London (UK). In collaboration with Nora Hansen.

In the tradition of Commedia Della Arte, a form of 17th century Italian theatre characterized by a finite set of masked types and iconic costumes, Nora and Frederique designed outfits exploring the roles of Gallerist, Artist, Intern and Spectator. Clothed in contemporary textures and traditional fabrics, the cast of Paperweight is surrounded by a landscape of video and sculpture – a possible backdrop for this play.

Commedia Della Arte`s stage set is built permanently into the theatre, allowing the artists to improvise each performance within the constant parameter of character and set. Working with the aesthetic of web shop video, bubble-gum and the ritual of a showcase, Movement of Obedience ~ Paperweight approaches the infrastructure of the space to invite you to try on, play your role, and shed what does not suit.

Elevator Pitch (2016)

Elevator Pitch (2016)

Trailer for Elevator Pitch; a TV series and network formula, broadcasted on YouTube. Acting by styrmir örn guðmundsson, Saemundur Thor Helgason and Frederique Pisuisse.

Five artists and five curators meet each other in the elevator of a skyscraper. They pitch their work and practice to each other and at the same time share their ideas with the rest of the world. Each individual pitch will last around 30 – 60 seconds, depending on the height of the building.

Set Volcano (2019)

Set Volcano (2019)

Cabaret Voltaire, Zurich (CH)

Part of Set Volcano.

A site specific performance piece, with a focus on deconstructing elementary features of theater, unfolding the interplay between performer, set, soundtrack, and audience. Throughout the performance at the tip of my finger I placed an electro-magnetic sensor connected to the theatre speakers, making audible the electro-magnetic fields that electronic devices carried by the audience members (a laptop, a phone, an iPad) emit.

The interference of the electro-magnetic fields evokes audience participation and makes ‘visible’ the relation between audience and the performer through sound. The phone signals create the soundtrack, making visible the knitted communication web of the audience, alien to the human eyes. Meanwhile the storyteller takes the viewer on a journey into the core of the earth and back.

With special thanks to Youtuber and inspirator @Silentmiaow:

Music of ‘Sun Storm Alexa (2019)’ by Solarflare via FreeMusicArchive

Podcast #1 Opening (2016)

Podcast #1 Opening (2016), London (UK).

This is the podcast #1, especially made during the grand opening of, a project space opened in London in 2016.



A hyperreal gallery project at the campus of Goldsmiths University, with Frieze Magazine sponsorship, a dodgy intern,  and a facebook scandal…

With works by: Andrea Williamson, Anne de Boer, BANK, Helen Knowles, Joseph Ridgeon, Josephine Reisch, Jonathan Clark, Laura Yuile, Madeleinde Stack, Marcel Darienzo, Nora Hansen, Ruth Waters, Shane Mcarthy, Tom Kobialka, Zbong Lee.

Vat Notice 702: Works of Art (2018)

Vat Notice 702: Works of Art (2018)

Changing Room, London (UK).

‘Vat Notice 702: Works of Art’ is work made from the VAT Notices of various European countries in their original language and graphic design. The VAT Notice is an element of the national import legislation which consist usually of definitions to identify works of art. This goes from materials: canvas, bronze, tapestry, to the maximum amount of prints there should be. I made two of these towers with each 12 countries.

Different countries use different definitions at customs to determine what is art. In a way, they compete with each other. Switzerland is one of the most progressive ones: “With the change in social values and the emergence of new technical potential, the artwork constantly takes on different forms”, whereas countries such as the Netherlands maintain an outdated idea about what art nowadays consists of. They are concerned with the hand-made: “Unique ceramic objects which the artist has created entirely by hand”.

All materials used in this exhibition would pass every European border. This can be done under the widely used, but vague import category: ‘Exhibition Materials’ with which a lot of galleries swindle and import artworks as “non-art”. It wouldn’t qualify as art under the regulations of most European customs. The sculptures are made from a custom designed marketing cardboard display units, 5XL workers T-shirts, Fake Ivy, art-handling gloves and rusted chains. 

The title ‘Vat Notice 702: Works of Art’ comes from the page of the Vat Notice of the United Kingdom.

Part of Bond-Ware.

Due To Realistic Suspicion (2014)

Due To Realistic Suspicion (2014)

P/////akt Amsterdam, 2014

NF presents: Vrom Ee toe Bie toe Zie toe Die with NF

In Memoriam of a Past Gallery Life (2016)

In Memoriam of a Past Gallery Life (2016)

Goldsmiths University Degree Show, London (UK)

Interview by VPRO Backlight, Interviewee David E. Weekly, Music by Cinematic Orchestra.

In the video which is hold up by a re-imagination of a Henry Moore sculpture, David E. Weekly, production manager at Google, explains the moment of going into a so called flow-state: a mental state that highly skilled programmers can reach while imagining a complex set of coding by arranging various databases and visual outputs in their mind. The hand gestures of the programmer start to draw a complex pink shape, by motion tracking his index finger.

The outcome of his gestures forms the outlines of a laser cut Perspex sculpture which is supported by a column balancing on a vacuum sealed stack of Frieze Magazines, generously donated in the form of a sponsorship.

This work combines a classical artist, with a self-proclaimed one. The way in which the coder speaks about his coding process is similar to the way artists used, and sometimes still, speak about their practice. The work is part of an installation romanticising art history by ways in which older artists are content to play romantic figures in society.