Uploaded August 2026 | Updated September 2026, 2 weeks ago
Made with Zaebects Fryer by @studiorobertseidel
aescripts.com/zaebects-fryer
#aftereffects #aescripts #zaebectsfryer
β‘ππ€²π I am excited to announce that my curated projection program, featuring 7 artists, will run throughout May as part of Night Lights Denver
To Fail the World with an Open Heart
Daniels & Fisher Tower
May 1 β 31, 2026
Lillian Schwartz, Mutations, 1972*
Chia Amisola, Arkipelago, Ark 1, 2026
Patricia Detmering, lβimaginaire, 2025
Zeitguised, Murano//HUD:$ync.DF, 2026
Natalia Stuyk, Celeste, 2026
Grischa Lichtenberger, Loss of Words, 2001/2008/2026
Lorna Mills, Step This Home, 2026
Curated by Robert Seidel
Supported by Denver Theatre District
Trailer Score by @n_v_sal
* Courtesy of the Collections of The Henry Ford, gift of the Lillian F. & Laurens R. Schwartz Collection
ππππΆπβ΄ππΎπΆπ πβ΄ππΈβ―π π β‘ππ€²π
Our world is constant stress β a relentless churn of information, crisis, and change. Artists working today must navigate this turbulence knowing that any attempt to capture beauty, truth, or meaning is provisional at best. The tools we use will become obsolete. Social platforms will shift. Political ground will move beneath our feet. To make art now is to accept, from the beginning, that we will fail.
Yet failure, when approached with an open heart and an attentive mind, becomes something else entirely. It becomes a practice of attention. A commitment to the process rather than the outcome. And within that process β in the unexpected glitches of technology, the surprising tenderness of algorithmic mirrors, the unpredictable collisions between artist, medium and viewer β something emerges that resists anticipation or control.
The artists in the program work at the frontier of innovation, not because they believe technology will save us, but because they understand that new techniques reveal unknown modes of perception. They explore emerging platforms, experimental hardware or software, and hybrid forms that dissolve boundaries rather than merely blur them. Their tools may be contemporary, but their gestures echo backward through time β to early cinemaβs wonder at moving images, to the avant-gardeβs disruption of narrative, to ancient human impulses to make
Made with Zaebects Fryer by @studiorobertseidel
aescripts.com/zaebects-fryer
#aftereffects #aescripts #zaebectsfryer
β‘ππ€²π I am excited to announce that my curated projection program, featuring 7 artists, will run throughout May as part of Night Lights Denver
To Fail the World with an Open Heart
Daniels & Fisher Tower
May 1 β 31, 2026
Lillian Schwartz, Mutations, 1972*
Chia Amisola, Arkipelago, Ark 1, 2026
Patricia Detmering, lβimaginaire, 2025
Zeitguised, Murano//HUD:$ync.DF, 2026
Natalia Stuyk, Celeste, 2026
Grischa Lichtenberger, Loss of Words, 2001/2008/2026
Lorna Mills, Step This Home, 2026
Curated by Robert Seidel
Supported by Denver Theatre District
Trailer Score by @n_v_sal
* Courtesy of the Collections of The Henry Ford, gift of the Lillian F. & Laurens R. Schwartz Collection
ππππΆπβ΄ππΎπΆπ πβ΄ππΈβ―π π β‘ππ€²π
Our world is constant stress β a relentless churn of information, crisis, and change. Artists working today must navigate this turbulence knowing that any attempt to capture beauty, truth, or meaning is provisional at best. The tools we use will become obsolete. Social platforms will shift. Political ground will move beneath our feet. To make art now is to accept, from the beginning, that we will fail.
Yet failure, when approached with an open heart and an attentive mind, becomes something else entirely. It becomes a practice of attention. A commitment to the process rather than the outcome. And within that process β in the unexpected glitches of technology, the surprising tenderness of algorithmic mirrors, the unpredictable collisions between artist, medium and viewer β something emerges that resists anticipation or control.
The artists in the program work at the frontier of innovation, not because they believe technology will save us, but because they understand that new techniques reveal unknown modes of perception. They explore emerging platforms, experimental hardware or software, and hybrid forms that dissolve boundaries rather than merely blur them. Their tools may be contemporary, but their gestures echo backward through time β to early cinemaβs wonder at moving images, to the avant-gardeβs disruption of narrative, to ancient human impulses to make
