AluanWang

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.

Heading to Hanoi next week with my old high school classmates. We were in the art class back then and spent whole days outside sketching. Now in middle age, we've all gone different ways in our careers. Really looking forward to a trip with no purpose at all, just sketching.

I love making art. Day and night, I love it. I accept all of it, the good and the bad.

A few days ago, my vision got really blurry, so I stopped working. I talked it through with my doctor, and with an LLM. Stress and age both play a part, of course. During one of those talks, an agent with access to my journal said: Think of Monet. It was after his cataracts that he painted his most iconic colors and water lilies. (I haven't fact-checked this.) So don't worry. Your work has always been the system, not the output. In that moment, I felt warmth, and a kind of fear. Both at once. I couldn't pull them apart.

During COVID, my family and I were stuck at home. We'd sit in front of the TV together, watching street walks through Bangkok or Tokyo. It was also the peak of the NFT and crypto wave. For a lot of reasons, those videos where nothing really happens were the only thing that calmed me down. Maybe that's where this series started. Street scenes, a path to somewhere, and all kinds of people on the street. It's built from two kinds of memories. The places I actually walked through on my travels. And the evenings with my family, in front of the TV. Everyone makes art for different reasons. I just wanted to keep both.

InkField will be shown in Taipei Lumitree until 11/7. #ArtTaipei2026

On the Way to the Museum

People in the city and people in the countryside do different things. On the street, someone is painting graffiti, someone is dancing, and the crowd claps along. I used to worry that all these details would make the work ordinary. But while building it, I found out: Every choice is already different from reality. Each one comes from leaving things out. This isn't recreating. It's creating. The details make it all real.

🌧️☔️ A world 100% generated, built from JS.

I'm still building this work to generative art specs. But this time, the challenge is completely different. More fun than I imagined, and much harder.

Maybe simulation theory is real. Creating all of this is so much fun. I can’t stop.

Not every day is a good day..