Croket Portfolio

Musician <n>Jeff Mills</n> photographed by <n>Jacob Khrist</n> for <n>White Fungus</n>.

From the series <n>Earth Mass</n> (2021) by artist <n>Balarama Heller</n>.

Gradient explorations for <n>OEM®</n> by <n>John Burgess</n> and <n>MOUTHWASH Studio</n>.

Digital artwork by AI artist <n>IsaacX</n>.

<n>Nest 06</n> (2011), a sculpture by artist <n>Jakub Geltner</n>.

A sci-fi user interface design by <n>Stephan Hülsen</n>.

Cartograph - A Modern Monospace Type Design

Still from the 1968 experimental film <n>Pas de deux</n> by <n>Norman McLaren</n>.

Digital animation by <n>protobacillus</n>.

Digital illustration by <n>Inonica</n> featuring a quote from astronomer <n>Carl Sagan</n>.

<n>Trajectory</n>, a digital illustration by <n>CuevaLandia Sp</n> from the <n>_Ventures IV</n> project.

Croket Light Art | LED Cloud Lamps

Test #1 of a <n>diffusion-limited aggregation</n>, an algorithmic process that generates branch-like structures.

<n>Angels</n> (1974) by <n>Bruce Conner</n> and <n>Edmund Shea</n>.

<n>Papilarnie</n> by <n>Janusz Jurek</n>, cover art for <n>Anya Bernstein</n>'s book <n>The Future of Immortality</n>.

An animation from the <n>Random Gifs</n> series by artist <n>Ross McCampbell</n>.

<n>Physarum</n> by <n>Sage Jenson</n>, a computational model of slime mold based on research by <n>Jeff Jones</n>.

<n>L4Adaptive</n>, a digital animation by <n>Protobacillus</n>.

Refik Anadol

Playlist cover design for <n>March 2004</n>, created in 2020.

Screen graphic by <n>Territory Studio</n> for <n>Denis Villeneuve</n>'s film <n>Blade Runner 2049</n>.

# Statement


This exploration considers a hybrid reality—distorted, abstract, and post-human—where the boundaries between human and machine collapse.
Interfaces operate as extensions of being: mediating production, violence, care, and play.
We approach an era of technologically induced possibilities that challenge existing paradigms.
What futures await beyond this emergent horizon?

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Distorted, abstracted, surreal aesthetics become a lens for viewing a reality in which humans and machines are no longer separate.
The interface between them—once a boundary—now acts as the central zone of influence, shaping how control flows in both directions.
Culture, research, and philosophy have long described this convergence. The trajectory is clear.
Yet the future remains partially obscured. What still stands between us and what comes next?

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Aesthetics of distortion and abstraction act as a filter through which the human–machine condition becomes visible.
In this condition, the interface emerges as the decisive space of negotiation: control, agency, and reliance flow in both directions.
The shift has been charted by research, popular culture, and philosophical discourse; its progression is well understood.
Yet its ultimate outcome remains concealed. What withholds the next phase from unfolding?