Architectural Structure and Emergent Chaos in the Generative Work of Vazk0

Join a conversation with Vazk0 about his creative practice. Fusing his passion for architecture with his programming skills, he creates digital compositions at the boundary between structure and chaos.

Vazk0’s Konstruct series, exhibited in our online exhibition Building Blocks, explores spatial connections, building up layers of linear structures to create labyrinth-like designs. The series combines unique rectangular systems with mathematical principles to create intricate, winding compositions, with a faded texture, adding a mythical element of time and decay.

UL: How do you navigate the relationship between mathematics, generative code and geometry? 

V: In my work, I see geometry, mathematics, and creative coding as intrinsically linked.  Geometry has a naturally visual quality, and nearly everything can be described or  represented through mathematical formulas. Creative coding serves as the perfect medium to bring these concepts together, allowing me to represent and materialise a wide range of ideas by combining geometry and mathematics.

UL: How did you formulate your dynamic and nuanced approach to geometry? 

V: My approach to geometry is deeply influenced by my passion for architecture and its visual representation. I often find myself drawn to structured designs that feature grid-like structures and repeated patterns, as they evoke a sense of order and stability. However, I also recognize the importance of incorporating an element of chaos into my  work as it adds a layer of depth and human touch to my creations. By intentionally introducing imperfections and misplacements I can break the rigidity of perfectly ordered structures and establish a unique balance that resonates with the complex nature of the human mind.

UL: Your compositions strike a careful balance between order and chaos. To what extent does architecture influence your practice? 

V: In architecture, there is always a need to establish a delicate balance between order and  creativity. There is an inherent connection to a sober reality and logical purposes that  necessitate order and structure, yet its timeless nature carries a unique signature, intrinsically linked to the technological and artistic developments of its era. The modular approach and assembly found in architecture can be likened to the processes in creative coding algorithms and even our own thought patterns. In this sense, architecture reveals as much about us as humans as it does about itself.

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Vazk0 is a Portuguese multidisciplinary artist based in Lisbon. His works skilfully blend architectural elements with geometric precision, while also incorporating instances of aesthetic disturbance. Vazk0’s artistic style is marked by a balance of order and harmony, juxtaposed with deliberate disruption. Beyond his endeavours in generative art, Vasco co-founded and manages his own studio that since its inception has teamed up with a variety of interdisciplinary groups on an eclectic mix of projects, ranging from video mapping to immersive live installations. The studio’s success in the field of projection mapping has ignited Vasco’s enthusiasm for weaving architectural elements into his generative artwork. This synergy between architecture and art has shaped Vasco’s distinctive style.

UL: Can you tell us a bit about your background and journey into creative coding? 

V: My background has been deeply rooted in computer arts since a young age. I pursued a degree in communication design and professionally concentrated on 3D motion graphics.  Over time, I delved into increasingly complex procedural systems and eventually  transitioned to lower-level abstraction coding languages, such as JavaScript or Python, to  overcome certain customisation limitations. In 2021, I began experimenting with these  languages, and by late 2022, I started showcasing some of my creations. My first fully-coded set of artworks debuted at the Unit London exhibition Building Blocks, marking my first worldwide display of coded artwork and setting the stage for my upcoming long-form release.

UL: Do your explorations in generative pattern have any underlying political or social significance, or do you prefer to focus on the aesthetic qualities of the work? 

V: Although I hold strong political opinions and appreciate art that conveys powerful political and social ideas, my primary focus in generative artwork is on aesthetics. I find beauty in the simplicity of shapes, colour gradients, mathematical formulas, patterns, and abstraction. I believe that if I were to incorporate other messages into my work, beyond pure beauty, it could potentially lose its abstract value. As a result, I choose to focus on the aesthetic aspects of my creations. Nonetheless I think every artist ends up being an activist, mainly by reminding people that there is something beautiful to fight for, and no matter what art you craft, in uncertain times artists always play a vital role offsetting the worst of human nature.

UL: Do any historical art movements resonate with you and your practice; Do you intentionally draw any parallels between your work and that of the past? 

V: While I don’t like to confine myself to specific styles, I do recognize their relevance. As an art lover, I draw inspiration from everything and everyone, from past things and future visions, from simple to complex things. I must say, I am particularly drawn to man-made creations. Although I find nature beautiful, most of my inspiration doesn’t come directly  from it, but rather from the fascinating world of the creative human mind. There are historical art movements with which I could blend in, as my work shares similar ideas and concepts. Of course, Constructivism, Minimalism, and Algorithmic Art come to mind and could definitely have parallels in my work.

UL: Are there any specific artists who influence your work/practice? 

V: It’s challenging for me to pinpoint specific artists who influence my work, as I find  inspiration in many places. That being said, the current generative art movement has been particularly inspiring, as it encourages creative coding and fosters an environment where great art can thrive. If I were to mention someone who has had a significant impact on my creative process, from the top of my head I can name Le Corbusier, an architect whose work resonates with me on a visceral level, but that’s not a favourite or a number X on a scale of artists. There are also more contemporary artists like Zach Liebermann which deeply resonate with me but once again not a favourite or a number, just someone whose work I admire and inspires me to create, rather than replicate features of his incredible work.

UL: Some argue that generative art is hard to access since it requires a certain level of technical skill and expensive equipment. How do you respond to that and how do you ensure that your work is accessible to a wide audience? 

V: Despite the perception that creative coding is expensive and difficult to access, I actually believe it is one of the most affordable and accessible approaches to visual arts. Although the learning process can be frustrating at times, it is also incredibly rewarding and can lead to fascinating results. Due to advancements in technology, more affordable  equipment, and the availability of free coding tools, the entry point for creative coding has become quite low and accessible to a wide audience. As someone who is still learning, I can attest to the fact that the journey is worthwhile and the results can be  incredibly gratifying.