1. select works to be outputted to print ready html portfolio pages 2. click ok button at bottom of page select Device to Root Out Evil  2025 custom software output to 85” display, cast concrete 60 x 10 x 80 in A real-time live view of the Empire State Building as converted to 8-bit color at a resolution of 108 x 192 pixels turned upside down and cast into a solid concrete plinth select Gavel (Device to Execute)  2025 patinaed and mirror polished aluminum, paint, flex seal 62 x 16 x 25 in select Me&You (PB&J)  2025 vials, peanut butter, grape jelly, self lubricating Teflon shelf select Possession with Intent  2025 Various/Artists is pleased to present Possession With Intent, an exhibition of new solo work by New York-based artist Siebren Versteeg. The show’s title gestures toward both juridical charge and supernatural haunting, suggesting an uneasy entanglement of control and surrender in a world ubiquitously documented and augmented by media. Across sculpture, screen, and installation, Versteeg poetically asks what happens when the subject is not only represented but re-performed—endlessly fed back, algorithmically rendered, and offered up for sale. .The works in the show oscillate between analog intimacy and digital recursion. An enormous mirror-faced hammer greets viewers at the entrance—part gavel, part funhouse—setting the tone for a space where judgment is not passed but ambient, encoded into the surfaces and interfaces we touch and are touched by. Nearby, long horizontal paintings Feed Your Head span ten feet across but rise just thirteen inches tall. Too wide for an apprehending view, they mimic the scan of the feed, echoing sublime proportions as well as those of the human head. Their surfaces read like code or scripture: repetitive, ornamental, and elusive. Recalling both Warhol's Empire and Dennis Oppenheim’s inverted churches, the work titled Device to Root Out Evil (Arm Around a Memory) renders an 8-bit live feed of the Empire State Building on an upside-down screen, literally shoved into 300 lbs. of concrete—a makeshift monument that recontextualizes through compression and inversion. Inpainting (Demon Seed) (2025) considers the inevitable slush of regurgitative A.I. by cunningly reframing a VHS copy of the sci-fi classic into a video miniature of the house of its own making—an ouroboros reflection from analog, to digital, then back again. Versteeg’s materials—concrete, glass, obsolete tech, ephemeral feeds—are not symbolic so much as symptomatic. They perform media theory through code and matter: the collapse of public and private, the reification of attention, the fetishism of data. Humor surfaces, as does unease. Commodity, after all, is never just a product—it is also the promise of presence; a staging of both the intimate and the alienated. These works ask not what we see, but who—or what—is watching, caching, predicting. If A.I. is our afterlife in data, Possession With Intent stages a séance in plain view. The ghosts are not coming. They are here, and they are hungry.. Link select A Kind of Past  2025 Algorithmically generated image printed to canvas 16 x 20 in 200 DPI select Hell Is Other People  2025 utra high resolution algorithmically generated image navigable via touchscreen Hell is Other People presents a vast collection of collaged portraits culled at the instruction of an algorithm to indiscriminately search out faces. The resultant cultural artifacts pile atop one another, commingling with the iconic flame emoji. An overwhelming onslaught of recontextualized identities encourages viewers to navigate and zoom in on the composition's fine detail through a touch screen. select People In The News, On TV  2025 Internet connected computer program, dimensions variable CGI nesting dolls are algorithmically re-skinned with the likenesses of “newsworthy” figures continuously downloaded from popular websites. The resulting apparitions, trapped in corporeal frames, nod and rotate in an artificial breeze of current events before turning to disappear into collective digital memory. select Love Live X Five  2022 Internet connected computer program with live video feed, dimensions variable Throughout the duration of a solo exhibition at bitforms gallery in New York, A webcam feed broadcast the process of restoring a Robert Indiana LOVE sculpture live, as it happened, from a camera installed at the artist's recently deceased father's fabrication facility in Connecticut. This ephemeral and temporary feed/performance was multiplied to 5 screens in a cross composition typical of much of Indiana's work. Love Live X 5 broadcast LOVE in homage to the artist's father Peter whose lifelong career as an art fabricator found him working with Indiana as well as many other seminal figures in art history, a career that greatly inspired and influenced the artist's artistic concerns, vision, and aspirations. select New Phone  2022 Algorithmically generated image printed to canvas 16 x 20 in 400 DPI select The Location of the Image  2022 Internet connected computer program, dimensions variable The Location of the Image presents a seemingly banal snapshot image taken at a musical performance, a figure whose back faces the camera wears a sweatshirt. Regardless of the works location, the sweateshirt reads the precise GPS coordinates of the viewer and work before them. select Up the Ghost  2022 bitforms presents Up The Ghost, our third solo exhibition with New York-based artist Siebren Versteeg. Further elucidating a playful interrogation of image and form, subject and object, life and studio, Up The Ghost introduces interdisciplinary works in sculpture, painting, and photography as an arrangement of digital apparitions that develop continuously throughout the course of the exhibition. Exhibited works in Up The Ghost contend with apprehension and loss, as inspired by developments in the artist’s personal life as well as with the recent public engagements regarding digital ephemera and commodification. Arranged on a single, screen-like plane that bisects a light-sealed gallery space, Versteeg’s exhibition radically abandons the conventions of artifact exhibition, instead presenting an open ontology of past, present, and hypothetical future works of art. In a series of varied, new compositions presented both in printed form and on protean screens, the artist places precedence on ultra-high-resolution rendering rather than quickly advancing, evolutionary procedures. “Here,” Versteeg said, “image data is generated at a level of detail that surpasses the limitations of display technology as it currently stands.” Static works from this ongoing body of exploration exhibit agency: aglow from edge-to-edge, they participate as fixed counterpoints to the continuous renderings of nearby screens. Hell is Other People presents a vast collection of collaged portraits culled at the instruction of an algorithm to indiscriminately search out faces. The resultant cultural artifacts pile atop one another, commingling with the iconic flame emoji. An overwhelming onslaught of recontextualized identities encourages viewers to navigate and zoom in on the composition’s fine detail through a touch screen. Random Image Machines (horizontal and vertical) enact image democratization to its furthest, and perhaps most extreme, conclusion. Each work performs instructions guided by an algorithm to glean a random high-resolution image to display on screen. This digital intervention adds an element of chance into the exhibition’s fold, creating variable foils for aggregated meaning and reflection. People in The News in 3D and Love Live x Five subject sculptural forms to temporal conditions through largely differing yet complementary approaches. In People in the News in 3D, CGI nesting dolls are algorithmically re-skinned with the likenesses of “newsworthy” figures continuously downloaded from popular websites. The resulting apparitions, trapped in corporeal frames, nod and rotate in an artificial breeze of current events before turning to disappear into collective digital memory. Comparably, Love Live x Five posits a more personal immediacy for Versteeg. A live webcam feed broadcasts the conservation of a Robert Indiana LOVE sculpture from a family-run art fabrication studio, which Versteeg and his sister inherited from their recently deceased father, Peter. Versteeg references LOVE as an early influence on his creative aspirations. In kismet, the sculpture’s conservation at the time of this exhibition poses a unique opportunity for the expression of Versteeg’s newly-led dual life as an artist and attendant to legacy. Link select Intercourse  2020 Algorithmically generated image printed on canvas, web subdomain, 56 x 46 in / 142 x 117 Link select In%20Memory  2020 bitforms gallery is pleased to announce our second solo exhibition with New York-based artist Siebren Versteeg. In%20Memory is an email; a checklist of speculative objects, a series of links, and a PDF; together creating a daisy-chain as exhibition. Versteeg presents this new body of works virtually as a multifaceted study of the flatness of screen-space, communicating reflection in a moment of polarization and uncertainty. In In%20Memory, playful references to painting, readymades, and installation inquire toward the experience of isolation within our technological present. In effort to participate yet emancipate from the expectation of an artist to create “things,” In%20Memory advances viewing room culture with deep zoom technology while challenging visitors to engage in a meaningful temporal experience. The exhibition is accompanied by an essay by Katie Geha. Link select Know Thyself  2020 My Pet Monster doll?, D&D Monster Manual, web subdomain, 18 x 19 x 19 Link select Sweepings  2020 Digital c-print, web subdomain 20 x 16 in / 51 x 41 cm, each Link select Haunting the Chapel  2020 Algorithmically generated image printed on canvas, web subdomain 41 x 29 in / 104 x 74 cm Link select Memorial (self-lighting)  2020 Live webcam feed, web subdomain, Dimensions variable A live webcam feed of a scale model sculpture of an NYPD mobile floodligh. Link select Possibly Living People  2020 Vinyl text on wall, web subdomain 120 x 120 in / 305 x 305 cm Link select Curtain  2020 Toilet paper rolls, wood, video, web subdomain, Dimensions variable Link select The Sleep Chamber  2020 Digital c-print with wood frame, web subdomain, 72 x 87 in / 183 x 221 cm, framed 1 of 1, 1 AP Link select Some are Girls  2020 Internet connected computer program output to square monitor (1920x1920 resolution), album cover, mat board, Continuously scrapes, downloads, stores, and presents an ongoing database of random faces from the Internet until disc is full select Clock  2020 Internet connected computer program output to square monitor (1920x1920 resolution), real-time image searches for the current time select Possibly Living People  2019 Digital image printed on vinyl Siebren Versteeg’s banner Possibly Living People, commissioned by the Dodd Galleries and produced by Fastsigns in Athens, GA, is a provisional memorial commemorating approximately 5,661 people who may or may not be alive today. Versteeg culled the information from a Wikipedia Category page that lists the full names of people whom according to the site,“It is not definitively known whether the people in this category are currently living or not.” Mimicking the effects of etched names on stone found on memorials and grave sites, Versteeg interrogates the limits of the internet via a factual database of uncertainty. Or as he describes it, “The more you know, the more you don’t know.” The artist often writes digital algorithms to manipulate and present data to create his works of art. “As someone who works with software and live data feeds, my medium is ultimately in continuous flux and difficult to contain,” Versteeg explains, “I am interested in the voracious appetite for inclusion and affirmation that life online exposes. The need to expose, publish, and bear witness to ourselves can be seen as analogous to the need for object or artifact that we all too often understand as a prerequisite of art.” As such, his concern is mirrored in this presentation; a relatively flimsy vinyl banner printed at a company called Fastsigns; an ephemeral memorializing of an indeterminate and contemporary history. select Rieper  2019 Algorithmically generated image printed on canvas pictured with John Riepenhoff's 'Handler's' select Brescia (By Day, At Night)  2019 Internet connected computer program (4K resolution) select Today's Paper (with flies)  2019 Internet connected computer program output to 4K monitor Depicts a self-portrait image of the artist seated in front of their NYC studio reading a newspaper. The paper's image within is updated with the latest edition daily; continuosly reflecting the passing of time and the news of the moment. Over the course of a 24 hour cycle, algorithmically animated flies appear within the tableau with increasing frequency. select Truisms  2018 Internet connected computer program output to 4k monitor, custom matte, frame Truisms takes initial cues from Jenny Holzer’s text based works of the same name. In Versteeg’s work, linguistic phrases from Holzer are used as a jumping off point for visual content and interpretation. Images based on the Holzer phrases and Googled in real-time are continuously incorporated into an endless array of rich compositions which refresh every 3 minutes before disappearing forever. These 4k resolution virtual paintings incorporate elements from Versteeg’s practice of algorithmic code works which collide choice and chance to reveal ongoing perspectives about the world we inhabit and collectively document through participation in digital culture. select A Continuous slideshow of Google image searches posted within the past 24 hours for the titles of 256 Sol Lewitt Wall Drawings  2017 Internet connected computer program, dimensions variable select 2017_04_09_0028998_Today_3800x4600  2017 16 x 20 in. algorithmically generated image printed on canvas select Fake Fire  2017 Barrel, fabric, lights, fan 37 x 23 x 23 in select sv_2017_04_06_0029443_Today_3800x4600  2017 16 x 20 in. algorithmically generated image printed on canvas select Danny Liker  2017 steel, concrete, tablet, custom software continuously connects to and likes images from the artist's Instagram account select A Rose  2017 algorithmically generated image printed on canvas nailed to wall, 64 x 108 in select 2017_04_11_0003219_Today_3800x4600  2017 16 x 20 in algorithmically generated image printed on canvas select A Rose  2017 algorithmically generated image printed on canvas nailed to wall, 64 x 108 in select Prosumer (with Bag)  2017 a webcam eye creates an ongoing slideshow, continuously feeding back the images it 'sees' on the screen into Google's search by image technology, pictured with 2 'Heads' select fake news  2016 Internet connected computer program, dimensions variable Real-time program that generates a perpetual slide show of what appear to be paintings hanging in an art gallery. The compositions are created (one per minute) by algorithms that incorporate images gleaned from various news image aggregates. select Surfer (with Head)  2016 steel, concrete, towel, tablet, custom software continuously trolls the internet at random select Free Inside!  2016 algorithmically generated composition printed on canvas, resin, 56" x 84" select Quavers  2016 algorithmically generated composition printed on canvas, resin, 56 x 84 in. select Middle Ages  2016 exhibition at Michael Jon & Alan, Miami FL. 9/10/2016 - 10/6/2016 L to R: 'The Secret', 'Cousin It's Cousins', 'Hands in head in Hands', 'Permanent Vacation' select Permanent Vacation  2016 steel, concrete, Internet connected computer program output to 65" LCD a webcam eye creates an ongoing slideshow, continuously feeding back the images it 'sees' on the screen into Google's search by image technology select Hands in head in Hands  2016 steel, concrete select Cousin It's Cousins  2016 algorithmically generated composition printed on canvas, 92 x 114 in. select Showtime  2016 algorithmically generated composition printed on canvas, steel angle frame, 84 x 56 in. select small IS beautiful  2016 external link Small IS beautiful is a public artwork situated on the exterior of the InterContinental hotel in Miami. Versteeg will broadcast the entire text of the book “Small is Beautiful: A Study of Economics as if People Mattered” by E.F. Schumacher word for word. For six evenings, large letters will scroll down the sides of the hotel at a pace that is comfortable to read, offering a complete public reading visible for miles on Miami’s skyline. This renowned book has been a resource for economists, business strategists and politicians alike to promote environmentalism and balance between economic growth and the costs of globalism on society. select C.A.D.  2016 Internet connected computer program, dimensions variable Computer program that generates free jazz compositions and real-time video from images perpetually gathered from the website ContemporaryArtDaily.com select Art Fabricator  2016 rebar, welding glove, cigarette butt, rag, paintbrush, zip tie, concrete bags, algorithmic painting program output to 70" LCD monitor select _DRKNOW_4400x6000_00297_2  2015 select LOSSES  2015 4 computers, 4 videos, ouput to 4 LCD screens a 4-channel asycronous video installation made up of videos downloaded from the Inernet of "Speed Paintings". Each "Speed Painting" artist has uploaded time-lapsed documentation of their photoshop labor, making photorealistc portraits of each of the castmembers of the T.V. series LOST. Now pulled from the web, the videos have been slowed down to 2-3% of their posted duration to reflect the exact amount of time that their original authors claim to have taken to produce them. The 4 works in the installation run from 2.5 to 4 hours; each at immenslely slow framerates; always in motion, but barely discernable to the human eye. select Portable Corridor  2015 computer program with live camera feed ouput to 50" plasma screen Portable corridor displays one's image as seen by a webcam behind the viewer. The real-time image is formatted into a vignette as if to appear on a CRT video monitor at the end of a narrow hallway. This live image is subsequently displayed above a pre-recorded image of the same camera's point of view, but without the viewer's presence. select I.T.M. (with familliar)  2015 Internet connected computer program, looping excerpt from Bill Viola's "I Do Not Know What It Is I Am Like", 2 Laptop computers, LCD screen, tape, bike helmet, boot, gallery detritus select _verizon_8700x12000_00798  2015 algorithmically generated image printed on canvas, 32 x 48 in select A Man About A Horse  2015 algorithmically generated image printed on canvas, 32" x 48" select Carlisle  2015 algorithmically generated image printed on canvas, 32" x 48" select Destiny's Manifest  2015 algorithmically generated image printed on canvas, 32" x 48" select Golden Gateways  2015 algorithmically generated image printed on canvas, 32" x 48" select Grand Ballroom  2015 algorithmically generated image printed on canvas, 32" x 48" select Happy Endings  2015 algorithmically generated image printed on canvas, 32 x 48 in select Index  2015 algorithmically generated image printed on canvas, 32" x 48" select Oh, Superman  2015 algorithmically generated image printed on canvas, 32" x 48" select Untitled  2015 algorithmically generated image printed on canvas, 32" x 48" select W.A.W.T.G.  2015 crutch, wig, bike helmet, paintbrush, algorithmic painting program output to square LCD select _fourteen_3300x4500_00028  2014 algorithmically generated image printed on raw silk 19" x 27" select _fourteen_3300x4500_00148  2014 algorithmically generated image printed on raw silk 19" x 27" select _locust_3300x4500_00126  2014 algorithmically generated image printed on canvas 19" x 27" select New Casualist Practising 2 (_iterant_hi_3450x4650_00214)  2014 6 algorithmically generated images printed on canvas, 19 x 27 in each select Clearcache33_11600x16000_00066  2014 algorithmically generated image printed on canvas, 55" x 76" select Clearcache33_11600x16000_00364  2014 algorithmically generated image printed on canvas, 55" x 76" select RP123.EXE  2014 Internet connected computer program output to square LED monitor, 15" x 15" x 5" real-time connection to most recent image posted at instagram.com/richardprince1234 select LIKE  2014 Internet connected computer program with live recursive Google image searches output to 46" LED monitor Left side of screen displays a continuously generating algorithmic composition. Each minute, that composition is uploaded to Google's "search by image" feature and the most simmilar result is displayed on the right half of screen. select _locust_3300x4500_00046  2014 algorithmically generated image on canvas 19" x 27" select HEAD  2014 Internet connected computer program output to 19" crt monitor, stickers real-time, continuous continuous painting and collaging of images culled from the Internet and displayed on artist's CRT monitor from the 90's select _erasechance_11600x16000_00085  2014 algorithmically generated image printed on canvas, 55" x 76" select _erasechance_11600x16000_00128  2014 algorithmically generated image printed on canvas, 55" x 76" select Editor  2014 Internet connected computer program output to LCD monitor select _quad_3450x4650_00390  2014 algorithmically generated image printed on canvas, 19" x 27" select _iterant_hi_3450x4650_00270_1, _iterant_hi_3450x4650_00270_5  2014 2 algorithmically generated images printed on canvas, 19" x 27" each select _iterant_hi_3450x4650_00214_4, _iterant_hi_3450x4650_00214_5  2014 2 algorithmically generated images printed on canvas, 19" x 27" each select New Casualist Practicing (_iterant_hi_3450x4650_00071_1 , _iterant_hi_3450x4650_00071_2, _iterant_hi_3450x4650_00071_3, _iterant_hi_3450x4650_00071_4, _iterant_hi_3450x4650_00071_5, _iterant_hi_3450x4650_00071_6)  2014 6 algorithmically generated images printed on canvas, 19" x 27" each select _fourteen_3300x4500_01136_x1_y1  2014 algorithmically generated image printed on canvas, 19" x 27" select _fourteen_3300x4500_00201  2014 algorithmically generated image printed on canvas, 19" x 27" select _fourteen_3300x4500_00207  2014 algorithmically generated image printed on canvas, 19" x 27" select _fourteen_3300x4500_00162  2014 algorithmically generated image printed on canvas, 19" x 27" select _fourteen_3300x4500_00105  2014 algorithmically generated image printed on canvas, 19" x 27" select _locust_3300x4500_00335  2014 algorithmically generated image printed on canvas, 19" x 27" select _locust_3300x4500_00299  2013 algorithmically generated image printed on canvas, 19" x 27" select _locust_3300x4500_00176  2013 algorithmically generated image printed on canvas, 19 x 27 in. select _locust_3300x4500_00054  2013 algorithmically generated image printed on canvas, 19 x 27 in select Departures  2013 Internet connected computer program output to 42" LCD screen, steel stand, flight data live flight data as presented at Miami-Dade International airport select _imploder_8700x12000_00043_rp-4251 (Run to the Hills)  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00045_rp-4180  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00050_rp-3678  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00053_rp-3457 (The Wizard)  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00055_rp-3316 (Melissa & Kelly Green)  2013 algorithmically generated image printed on canvas, 55" x 76", post-it, marker, tape select _imploder_8700x12000_00058_rp-3077  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00071_rp-2340  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00074_rp-2199 (Crack)  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00079_rp-1983 (Happy Birthday)  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00084_rp-1682 (Ears to the Ground)  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00089_rp-1416 (Rock)  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00092_rp-1277  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00094_rp-1082, _imploder_8700x12000_00096_rp-995, _imploder_8700x12000_00098_rp-924_ (Winter is Coming, A Protestant's Warning )  2013 3 algorithmically generated images printed to 3 canvas, 55" x 76" each panel, wood select _imploder_8700x12000_00103_rp-765  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00112_rp-556 (Just Pepperon')  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00118_rp-459 (Intellincide)  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00128_rp-309 (ZORG)  2013 algorithmically generated image printed on canvas, 55" x 76" select _imploder_8700x12000_00252_rp-5 (Fatal Error)  2013 algorithmically generated image printed on canvas, 55" x 76" select IDEAS ARE EXECUTIONS  2013 Emerson Dorsch is pleased to present IDEAS ARE EXECUTIONS, a two-person exhibition of Siebren Versteeg and Dave Hardy. Collaborators for nearly ten years, this will be the first exhibition to present their individual practices side by side. IDEAS ARE EXECUTIONS reveals unlikely commonalities in what appear on the surface to be strikingly different bodies of work. Hardy's gnarled sculptural c/Users/brook/Downloadsonstructs and Versteeg's algorithmically generated digital canvases are each the result of complex processes that contend with the increasingly conflating stratum of information and material. Siebren Versteeg's digital prints on canvas are indicative of shifting margins in painting. He manipulates code to generate a series of works designed to mimic a painter's practice. In an interest to reveal the evolutionary constitution of his algorithmic programs, IDEAS ARE EXECUTIONS features an extracted linear sequence of nearly 20 digitally printed canvases, each standing over 6 feet tall. Wrapping the perimeter of the space like frames in a filmstrip, the works envelop the viewer in a haptic gradient of pattern. Across the room the process is laid bare, as a computer and LED screen conjure infinite permutations in real-time. Dave Hardy's sculptures draw on the earnest language of provisional architecture and self-assured gestures of modernist sculpture. Thriving on the tension built from internal oppositions, the resulting set of contradictions speaks to the human condition. Hardy employs faded, tonal layers of polyurethane foam as an oblique reference to the body. The flesh is petrified, and interstitially cleaved by panes of glass, and various detritus including pencils, a marker, penny and a pretzel. "I am making Gemini sculptures that deal with the prospect of a body doing its best to resist the attrition of time." IDEAS ARE EXECUTIONS will include a selection of sculptures constructed of found tabletops, shower doors, and other vestiges left for dead, transformed and presented in confounding arrangements of weightlessness and precarity. select _repeater_nested_5800x10311_00111  2013 algorithmically generated image printed on canvas, 55" x 96" select _arbitrary_6000x6000_00047,_arbitrary_6000x6000_00048  2013 algorithmically generated images printed on canvas, approx, 45" x 90" each panel select _repeater_nested_5800x10311_00204  2013 algorithmically generated image printed on canvas, 55" x 96" select _locust_2100x3000_00011  2013 algorithmically generated image printed on canvas, 19" x 27" select _future predictor_4000x5700_01156  2013 algorithmically generated image printed on linen, 31" x 47" select _future predictor_4000x5700_0933, _future predictor_4000x5700_0934, _future predictor_4000x5700_0936  2013 3 algorithmically generated images printed to linen, 31" x 47" each panel select _repeatingloop_5800x10311_00116_thumb  2013 algorithmically generated image printed on canvas, 29" x 56" select _thank_you_2000x2400  2013 algorithmically generated image printed on canvas, 16" x 20" select _richter_95dpi-copy_11970x7524_5  2013 algorithmically generated image output to 2 canvases, 127" x 82" select _can_1_4200x5600_16  2013 algorithmically generated image printed to canvas, 37" x 46" select doorformsbitman_6000x6000_323 (2×3)  2013 2 algorithmically generated images, each printed to canvas 3 times. 6 panels total, approx 150" x 120" select _looping_LG_BB_8000x12000_103  2013 algorthimically generated image twice printed to silk noil select _247Spyz_6000x6000_143  2013 algorithmically generated image twice printed to canvas, 126" x 84" select _Linein_1_4200x5600_20  2013 algorithmically generated image printed to linen, 36" x 48" select _looping_LG_BB_8000x12000_102 2013  2013 algorithmically generated image printed on silk noil, frame, 20" x 23" select A Feel of Thinking  2012 Michael Jon Gallery is pleased to announce A FEEL OF THINKING, an exhibition of new work by Siebren Versteeg. The show will run from September 8 through October 20, 2012; an opening reception will be held on Saturday, September 8 from 7:00 until 10:00pm. A FEEL OF THINKING continues Versteeg’s mediations of painterly abstraction through code and chance, spirit and circuitry. In recent years, Versteeg has been authoring an archive of behavioral functions by manipulating computer language to generate images of paintings that exist exclusively in data space. The code writing itself is praxis, manifesting an ever-evolving algorithm to mathmatically render every visual aspect of a painting; from texture of substrate, to thickness of brush, to viscocity of pigment binder. The result however is not autopilot, but a study of how artists might use today’s ancillary technologies while maintaining expressive autonomy. Versteeg’s work lays claim to the uncanny valley, a place where things are neither completely biological nor artificial. This limbo attests to the shifting borders of the human body and its potential. A FEEL OF THINKING will feature three self illuminating pieces within a dim gallery. A wall-sized HD projection, Making Time, Travel Slow exhibits an algorithmically rendered painting that, every 15 minutes, is virtually de-installed and replaced with a new version that was generated off screen just seconds before. A persistent element of this piece however is the clock, a nod to the diegetic temporality of recent Christian Marclay projects as well as the in situ performative startegies of many contemporary painters such as Josh Smith. On an adjacent wall hangs an electroluminescently backlit duratran sheet displaying one of an infinitude of these possible mechanized gestures. On the floor, readymade stencils spelling out “A FEEL OF THINKING” are haphazardly dropped over an exposed electroluminescent void. A casual arrangement that is deeply mediated by historical and technological references. select A FEEL OF THINKING  2012 Electroluminescent panel, stencils, 40" x 60" select Making Time, Travel Slow  2012 real-time computer program output to wall-sized HD projection algorithmically generated paintings are swapped out each 15 minutes by an image of the artist select SUBURBAN  2012 Installation view, Oak Park IL. select _fountain_2_9000x12000_23  2012 algorithmic composition output to glossy photo paper, 39" x 52" select _fountain_2_9000x12000_51  2012 algorithmic composition output to glossy photo paper, 39" x 52" select _fountain_2_9000x12000_7  2012 algorithmic composition output to glossy photo paper, 39" x 52" select Regina rex (Part Two)  2012 Eli Ping Gallery, REGINA REX (PART TWO) JULY 20 - AUGUST 4, 2012, 2012 For its inaugural exhibition, Eli Ping presents Regina Rex member work. Regina Rex is an artist-run exhibition space located in the Ridgewood neighborhood of Queens, New York, a half-block from the Brooklyn border. This is the first time Regina Rex member work will be presented as a group. The show will occur in two parts with Jeff DeGolier, Gabe Farrar, Elizabeth Ferry, Stacie Johnson, Anna Schachte, and Siebren Versteeg in Part Two. (Yevgenia Baras, Theresa Ganz, Alyssa Gorelick, Angelina Gualdoni, Lauren Portada, and Max Warsh were featured in Part One.) Eli Ping is also a member of Regina Rex. Part Two will run from July 20 - Aug. 4. There will be an opening Thursday, July 19 from 6-8 PM. select spaceex2_12000x16000_3  2012 algorithmically generated image U.V. print on canvas, 40" x 53.25" select Daily Times (performer)  2012 Internet connected computer program, 70" LCD algorithmically generated composition as informed by a daily download of the New York Times front page select goodtimes_1062_2006_03_31  2012 select goodtimes_1081_2003_05_09.psd  2012 select goodtimes_1086_2009_11_12.jpg  2012 select goodtimes_1113_2005_04_04  2012 select goodtimes_818_2006_05_12_edwin.psd  2012 select goodtimes_realbig_1088_x1_y1_2006_09_07.psd  2012 select goodtimes_1082_2009_07_20_rhona.psd  2012 select goodtimes_1087_2006_10_17_rhona.psd  2012 select goodtimes_1109_2005_04_04  2012 select Flat Screens  2011 In 2011 Meulensteen presented Flat Screens, an exhibition of new work by Siebren Versteeg; this is the artist’s third show with the gallery. At the core of the exhibition is a series of unique, backlit digital prints on DuraClear. These images, reminiscent of gestural abstract painting, are captured from mutating compositions generated by computer programs that the artist has written. The images are developed in digital space, without the use of physical paint. Through this work, Versteeg continues to develop his interest in the circulation of information in the digital realm and the algorithms that guide their flow. He manipulates this language to create artworks that balance choice and chance. They engage critically with the systems used for the dissemination of images within our culture, as well as with the technology used to create them. Philosopher Vilém Flusser’s Into the Universe of Technical Images informs this most recent body of work, furthering the artist’s ongoing exploration of the intersection between algorithmic programming and artistic mark making. Versteeg’s work taps into an interesting parallel: Flusser describes the history of communications in a similar manner to the way Clement Greenberg summarized the history of painting: as a progression towards abstraction. In his seminal text, Flusser meditates on what he saw as the two possible divergent outcomes for humanity’s future: overwhelmed by images, we might witness the birth of the first infinitely creative society, or be trapped by an inescapable and oppressive pattern of sameness. The work in Flat Screens operates on the razor’s edge between these possibilities. Flusser also notes that text has been eclipsed by the image as the prominent form of communication. Versteeg interjects in this discourse by using text, in the form of computer programming code, to create images. As the exhibition’s title suggests, Versteeg plays with the notion of the flat screen. It appears as an illuminated still image (as in the work previously described), and in The Three Lights. In this work a flat screen monitor, hung from the gallery’s ceiling and surrounded by a grid of similarly proportioned ceiling tiles, displays an evolving collage of internet images from real-time searches for the terms “red light,” “green light,” and “blue light.” Two editions of the work will run simultaneously in the exhibition, generating two unique outcomes. In another work, which bridges the language of painting and the technological image, a piece of raw canvas, cut to the 4:3 aspect ratio of a standard definition television monitor, hangs inside a light box constructed to the 16:9 aspect ratio of a flat screen television. The lateral bars (pillarboxing) that appear when an image is displayed within a wider image frame appear in this work as bright bands of light. Here, as he does throughout the exhibition, Versteeg points out the oddity of imposing conventions from one medium onto another. select goodtimes_1092_2006_11_15  2011 algorithmically generated image on paper, 92" x 56" select goodtimes_1099_2002_03_15  2011 algorithmically generated image on paper, 92" x 56" select goodtimes_1111_2005_04_04  2011 algorithmically generated image on paper, 92" x 56" select Today's Paper  2011 Internet connected computer program, dimensions variable daily front page scan of the New York Times programmatically formatted into a photographic still select Untitled  2011 canvas, prismex lightbox 44"x74" select Down  2011 algorithmically generated image on duraclear, electroluminescent panel, inverter, 68" x 48" select Ideas Are Executions I  2011 algorithmically generated image on duraclear, electroluminescent panel, inverter, 68" x 48" select Ideas Are Executions II  2011 algorithmically generated image on duraclear, electroluminescent panel, inverter, 68" x 48" select Looks Like Thinking  2011 algorithmically generated image on duraclear, electroluminescent panel, inverter, 68" x 48" select Paradox Not Hypocrite  2011 algorithmically generated image on duraclear, electroluminescent panel, inverter, 68" x 48" select The Three Lights  2011 2 x Internet connected computer programs, 2 x 40" LCD monitors, drop ceiling hardware, sound realtime image searches for "red light", "green light", and "blue light" are continuously aggregated and displayed over 2 40" LCD monitors installed inside a drop ceiling select What is no?  2011 algorithmically generated image on duraclear, electroluminescent panel, inverter, 68" x 48" select goodtimes_1106_x1_y1_2004_01_16  2011 algorithmically generated image on paper, 92" x 56" select goodtimes_815_x1_y1_2007_10_20  2011 algorithmically generated image on paper, 92" x 56" select Inaction  2011 Rhona Hoffman Gallery is pleased to present INACTION, an exhibition of new work by Siebren Versteeg. This will be our third exhibition with the artist. Occupying the intersection between algorithmic programming and painterly expression, “Inaction” presents a space that folds the gestures of the hand into the automation of the computer and collapses the moving image into the still. Inspired by Vilem Flusser’s “Into the Universe of Technical Images”, Versteeg focuses simultaneously on the production of new visual information as well as the unique historical conditions that drive artists toward abstraction as creative undertaking. The exhibition begins with a direct address to the digital screen. In “God made the earth in small circles,” Versteeg blinds the gallery’s glass front with an enlarged backlit image of Gerard Richter’s pixilated Cologne Cathedral that he gleaned from the Internet. Rather than the pigmented color of stained glass, however, this flattened scrim depicts exclusively through the additive values of red, green, and blue; thereby illuminating the mechanics of a computer monitor and it’s affects to perception. In homage to the Chicago fall’s waning sun, a spotlight positioned outside the gallery will provide illumination for the work on opening night. The surrounding walls will debut a selection from an ongoing body of digital abstractions which navigate the interstices between code-based automation, alchemy, and ritualistic determination. Through mimetic rendering the viscosity, reflections, and transparencies of what we traditionally accept as painterly, Versteeg creates an aesthetic space that foregoes the info-matic in favor of elucidating the balancing parameters of an ever increasing myriad of variables. select masterblaster_14  2011 algorithmically generated image printed on aluminum with aluminum frame, 16.5" x 21.5" select masterblaster_8  2011 algorithmically generated image printed on aluminum with aluminum frame, 16.5" x 21.5" select God Made The Earth In Small Circles  2011 inkjet prints on acetate an Internet quality image of Richter's Cologne cathedral window is processed to reveal its RGB values and adhered to gallery window select HOLYSTONE_312  2011 algorithmically generated image printed on raw canvas, 36.25" x 51.5" select MAY29_airbrusher_9999x12000_87  2011 algorithmically generated image printed on aluminum, 46.5" x 67" select MAY29_strawberry_big_black_9000x12000_19  2011 algorithmically generated image printed on aluminum with steel frame, 37.5" x 50" select Clown_853  2011 algorithmically generated image printed on canvas, 79.5" x 47.25" select Clown_854  2011 algorithmically generated image printed on canvas, 79.5" x 47.25" select Clown_855  2011 algorithmically generated image printed on canvas, 79.5" x 47.25" select goodtimes_1097_2005_03_2  2011 select goodtimes_816_2007_03_2  2011 select goodtimes_817_2002_12_04  2011 algorithmically generated image on paper, 92" x 56" select Soft Apocalypse  2011 digital image printed to venetian blind select MAY29_strawberry_big_black_9000x12000_6  2011 algorithmically generated image on duraclear, electroluminescent panel, inverter, 24" x 36" select MAY29_strawberry_big_black_9000x12000_7  2011 algorithmically generated image on duraclear, electroluminescent panel, inverter, 24" x 36" select MAY29_strawberry_big_black_9000x12000_8  2011 algorithmically generated image on duraclear, electroluminescent panel, inverter, 24" x 36" select MAY29_strawberry_big_black_9000x12000_9  2011 algorithmically generated image on duraclear, electroluminescent panel, inverter, 24" x 36" select White Light (horizontal)  2010 duratran on plexiglass, stand, flourescent lights select White Light (vertical)  2010 duratran on plexiglass, stand, flourescent lights select White Flag  2010 algorithmic compositions generated from approximately 1,000,000 images and printed on cotton, flourescent lamp, aluminum flagstand series of 10 unique compositions select In Light; Of Everything (no. 1-7)  2010 computer program output to 7 lcd touch displays, anodized aluminum frames Exchange Place, 53 State Street, Boston. select The Wall  2010 An interactive commision for University of South Florida comprised of two 46-inch high-definition LCD monitors, a small external PC, and a computer program that allows viewers to contribute content that is displayed in real time. Both monitors display a digital rendering of the wall on which they are mounted. While one monitor displays a ‘zoomed-out’ image, the virtual area of which measures 87’ x 52’, the other monitor displays a 1:1 ratio digital rendering of the real wall. Viewers touch can touch either screen to activate the program, which can be used to “graffiti” and add content to the virtual wall. The program does not include an eraser, viewers can email jpgs of sections of the wall to any recipient. select Diptych_0002  2009 select Diptych_1031  2009 archival inkjet mounted to dibond, frame, 68" x 42" x 1/4" select Triptych  2009 Internet connected computer program output to gold leafed LCD monitors, image searches for 'triptych' are displayed in real time as a never ending slide show select Prop  2009 50" plasma screen, stick, single channel DVD select Diptych  2009 Internet connected computer program output to LCD monitors realtime image searches for 'diptych' are displayed across two monitors as a continuously scrolling image totem select Heaven and Hell  2009 Internet connected computer program output to framed 60" LCD monitor realtime image searches for 'heaven' and 'hell' are aggregated into a continuously evolving composition select Whole Earth  2009 284 framed 4" x 6" photographs select New York Double Hung  2009 select Details  2008 select New York Windows  2008 Internet connected computer program output to 50" plasma screen, infrared touch frame select Zero Is The Center  2008 Max Protetch Gallery is pleased to announce its first exhibition in its main space of the work of Siebren Versteeg. Zero Is The Center includes interactive paintings, digital prints, and sculptures that dissect the interactions media, intention, and indeterminacy. In many of the works, extensive use is made of the internet as a generative source of information and imagery. By developing precise algorithms that guide the flow of information, Versteeg models the movement and content of the ambient digital atmosphere into artworks that balance choice and chance. Versteeg’s current work can be seen through the lens of mid-twentieth century artistic developments advanced in the work of artists like Robert Rauschenberg, Jasper Johns, and John Cage. Some of the pieces on view even borrow their formal language from specific artworks from this period. New York Windows is a diptych of interactive ‘paintings’. On the screen at any given time is an image compiled from a combination of internet sources and digital additions programmed by the artist. However, the image is larger than the frame seen on the screen, and the areas of it that are beyond the frame are constantly being updated and revised with new information culled from the internet; by dragging the image much like one might drag an image on Google maps, the viewer can bring these newly formulated sections into view. Simultaneously, other areas are being redrawn. The artist’s programming ‘hand’ is present as a persistent ghostly presence working just outside of what is visible. Another real-time video ‘painting’, Flag, takes the canonical Johns Flag paintings as a jumping-off point. Just as Johns incorporated collaged newspapers into his painted objectification of the American flag, Versteeg programs a composite image made up of many images drawn from the internet. While the form of the flag is held constant, the materials (digital images) that compose the flag are constantly changing. A similar approach has been utilized to create Self-Portrait. A flat panel monitor has been balanced on an artist’s easel; on the screen is an image of the artist created from digital brushstrokes that continuously re-paint themselves. The artist’s hand has been re-contextualized, rewritten in a gesture that is at once ironic, melancholic, and comic. A single channel video, Mortar and Pestle, begins as a single monochromatic field that fills the whole screen. Accompanied by crushing sounds, the image breaks down exponentially into smaller and smaller pixels. But as the pixels get smaller, an image comes into view: the artist using a mortar and pestle, destroying one thing to create another, a process whose analogue can be found in the manipulation of the image itself. After the image has ‘devolved’ into a perfectly clear picture, it begins to replicate itself, filling the screen with smaller and smaller images, until once again a monochromatic field prevails. A similar concern with atomization can be found in two inkjet prints that mimic sheets of particle board. On closer inspection, the particles are seen to be precisely organized, oriented around a perspectival point at the center. It is also present in Grand Canyon, a lightbox that, when viewed from a distance, seems to show a panoramic view. In fact the iconic American panorama is made up of thousands of red, green, and blue abstracted high-rise buildings, conflating the built and natural environments. For a series of eight-by-eight-foot algorithmic drawings on canvas, Versteeg collaborated with J. Patrick Walsh III, who created custom, hand-painted frames. The drawings, which resemble networks of highways, wires, or veins are like intricate mandalas. Their sheer complexity suggests the presence of a super-human author, but their juxtaposition with decidedly handmade frames makes their presence as physical objects intensely felt. Negative Shadow Of A Fake Fire is a sculpture that shows how layers of mediation work on visual understanding. A waving flame lamp sits atop a wooden crate, flanked on one side by a bright light and on the other by a scrim. A video camera is trained on the scrim, capturing the silhouette (black on white) of the fake flame, and transmitting it to a projector. On the wall near the sculpture an image of the flame is projected, but with its values reversed, white on black. There is no real fire, but the object dramatizes the visualization of energy. With implied references to cinema, surveillance, and scientific experimentation, the work suggests that, while perhaps there is no central or originary phenomenon to observe, an endless loop of representations provides a productive system for humor, play, and communication. select Flag  2008 Internet connected computer program output to plasma screen realtime random image searches are continuously aggregated into an ever-evolving composition select Grey Flag  2008 Internet connected computer program output to plasma screen realtime random image searches are continuously aggregated into an ever-evolving composition select Inevitable  2008 HD video select 32 Particle Board (horizontal)  2008 archival inkjet print mounted to Aluminum, 96" x 48" select 32 Particle Board (vertical)  2008 archival inkjet print mounted to Aluminum, 96" x 48" select The Negative Shadow of a Fake Fire  2008 wooden crate, video camera, silk fire lamp, projector inverted live feed video of the shadow of a fake flame is projected onto the opposing wall select 0 is the Center  2008 algorithmically generated image printed on paper select Press Enter to Exit  2007 Rhona Hoffman Gallery is pleased to present the second solo exhibition by New York based artist Siebren Versteeg. In describing the work, Versteeg borrows a quote from filmmaker Ken Burns brought to his attention via his Free Will Astrology Horoscope by Rob Brezsny: "We are experiencing the death of narrative," he told the San Francisco Chronicle. "We are all so opinionated that we don't actually submit to narrative anymore. That's the essence of YouTube: Abbreviate everything into a digestible capsule that then becomes the conventional wisdom, which belies the experience of art." (see Leo, http://www.freewillastrology.com/horoscopes/20071115.html) Through deployment of computer programming, Versteeg's practice exponentially zooms in to consider the condition Burns laments, moving from our perceptual experience of digital telecommunications inward toward the infinitesimal looping routines of code which create them. From these sliding vantage points, timelines fold in on themselves and horizons become infinitely plastic and scaleable to attention. In "Superhighway" 2007, for example, close inspection reveals a tangle of tiny lines as a vast and intricate motorcade. As in all attempts at apprehensive reasoning, forms congeal and collapse in the conjoined hands of distance and time. Central to the exhibition will be a projected work entitled "Untitled Film IV" which culls an endless stream of images into a structure referencing Chris Marker's 1962 short 'LaJeteé'. Like Marker's original, the effect is a destabilizing meditation on time. Unlike Marker, however, Versteeg's work illustrates experientially, by incorporating the dizzying qualities of real-time internet data transmission to create an ongoing narrative that ends only when we decide to look away. select If My Heart is Narrow, What is the Good of the World Being So Wide?  2007 archival inkjet mounted to aluminum, 40" x 40" algortihmically generated composition select Own Nothing, Have Everything  2007 1.5" LCD screen, mural dimensions variable select Red Dragon  2007 archival inkjet 40" x 40" algortihmically generated composition select Superhighway  2007 archival inkjet, 49" x 43.5" algortihmically generated composition select Untitled Painting I  2007 bungee cords, grommets, acrylic and enamel on canvas 96" diameter select Your Boss Naked  2007 archival inkjet mounted to bent aluminum, 12" x 16" found image select Sponge  2007 pine, paint, sponge, motor select Looking At The Stars From Inside The City  2007 inkjet prints, victorian era photo album approx. 20 images of actors from Battlestar Galactica gazing out from iside their helmets select Hungry Ghost no.1  2007 Duratran in aluminum lightbox, 28" x 40" algortihmically generated composition select Untitled Film Still 4  2007 color lamda print 14" x 11" 15.5" x 12" framed select President's Choice  2007 Duratran in Prismex lightbox, 72" x 40" algortihmically generated composition select Untitled Film IV  2007 Internet connected computer program with sound output to didgital projector, realtime random images from Flickr realtime random image searches from Flickr.com are continuously aggregated into an ever-evolving filmic composition select The One You're With  2007 627 4"x6" photographs hung in a grid, 132" x 114" algortihmically generated composition select nothing Was  2007 The gallery is pleased to announce the opening of Nothing Was, Siebren Versteeg’s first solo exhibition in New York City and a new project exhibition space at 511a W 22nd Street. Siebren Versteeg is known for strategic digital interventions that detangle the omnipresent data stream from contemporary life. Versteeg utilizes real-time data such as Google image searches, live news feeds, and soap opera plot summaries, and condenses the noise into humorous and poetic works that highlight the pervasive and escalating influence media plays on our perception of the world. The multiple new works produced for the exhibition include code-driven images, videos, and audio works that engage the viewer with eternal digital scenarios, contrasting human mortality with the lifespan of data. Something for Everyone (2007) collages hundreds of thousands of downloaded images into an endless, perspectival field, above which a B-2 Stealth Bomber soars. The Higher We Climb, The Further We See (From), 16,777,216 - variation 1 (2007), composites each of the 16,777,216 colors of the RGB digital palette in a random configuration, creating an all-over field of non-information. As The World Turns (2006) transcribes the daily synopsis of the soap opera, which has aired continuously for 50 years, through notes that the artist’s avatar appears to scrawl continuously in front of a webcam. Boom (fresher acconci) (2007) also fixes the artist in a computer-generated lock groove. Taking a visual cue from Vito Acconci’s Red Tapes, the work randomly downloads images from the internet, which the artist slaps onto a table one at a time. DS (Dark Star) (2007) perpetually re-authors the Grateful Dead’s infamous, unending swan song. Versteeg’s work begins with the assumption that the real and the virtual are hopelessly intertwined. Whether applying statistical filters or assigning a subjective, personal frame of reference, his work provides an all-access pass to the field of information, and tells us that one image is no longer significant, rather it is the glut that forces perspective. By taking steps back in time, distance, and resolution, Versteeg establishes elegant filters by which to understand and participate in the contemporary information economy. select BOOM (Fresher Acconci)  2007 Internet connected computer program output to Sony monitor, random Google image stream realtime random image searches from Google are continuously aggregated into a video vignette select RGB Dragon  2007 Duratran in aluminum lightbox, 39" x 97" algortihmically generated composition select The Gap  2007 Duratran in aluminum lightbox, 48" x 48" x 8" algortihmically generated composition select The Higher We Climb, the Further We See (From) - variation #1  2007 archival inkjet print mounted to aluminum, 32 5/8" x 32 5/8" each of the 16,777,216 colors of the true color rgb palette displayed in a random configuration (series of 4 variations) select Something For Everyone  2007 archival inkjet mounted to Durabond in 3 panels, 120" x 87" algortihmically generated composition select 100 Years of Google Images  2007 archival inkjet print mounted to aluminum, 23" x 51" map of the quantity of images returned from a google image search of each day of the past 100 years, x-axis is time, y-axis is quantitly select Shuffle  2007 mixed media, 20" x 16" composed of hundreds of miniature album covers select Time Waits For No One  2007 sharpie, tape, Time magazine cover, frame, 18 1/2" x 16" select As the World Turns  2006 Internet connected computer program output to 7" LCD screen, real time daily soap opera synopses select DeathStar  2006 archival inkjet print mounted to aluminum, 32 5/8" x 32 5/8" algorithmically generated composition select Untitled Film III  2006 computer program output to 20" LCD screen select Not Dynamic Ribbon Device  2006 Internet connected computer program output to LCD realtime AP news as formatted into a Diet Coke vignette select Untitled Film II  2006 Internet connected computer programs output to projections, realtime obituary listings, realtime birth announcements select determination  2005 Rhona Hoffman Gallery is pleased to present Siebren Versteeg, determination, an investigation into the fabricated notion of “Real Time”, the contents of George W. Bush’s I-Shuffle, and the recent surge in identity profiling via the mass construction of terabyte sized consumer databases. On display in this cross-media exhibit of objects about the dangers of control in safety-critical systems you will find an auto-consensus binary-partisan machine, seven different virtual simulation models for contending with the blinding sunrise of the Blue Screen of Death, and a digital portrait of the artist’s father. Versteeg’s efforts to harness the central limit theorem’s connection to Pharmacy Photo Kiosks and Billboard Radio Charts from exactly ten years ago from the moment that you are reading this, has led him to the creation of a poplar time machine that is searching for the precise second America’s heart broke and billions of butterflies flew from the canopic jar. Siebren Versteeg has exhibited his work extensively and reasserts distance by waiting two weeks before responding to international emails. Most recently he was prosecuted, assaulted, and held for three hours in a Prague grocery chain after attempting to steal a milk crate for his installation in the International Biennial there. He currently works and lives in New York. -V.D. select Flash(flash)  2005 900 4x6 photographs, 11' x 15' select Enjoying Uncertainty  2005 internet connected computer program output to plasma screen realtime feed of random album covers from Amazon as formatted into a photographic composition select Robot Drowning in Nanobots  2005 Duratran in MDF lightbox select When Right is Left  2005 4" x 6" c-print select Neither There Nor There  2005 digital program, 2 15" LCD screens select Nearly Half, Undecided, Balanced, Perfect, Dead  2005 digital program, 3-d glasses select Decade (after Robert Morris)  2005 poplar, computer, 10 years of popular music billboard's number one song from exactly a decade prior to the current time loops continuously from within a wooden box, functions for 10 years select random(35) random(random(35)) random(random(random(35))) random(random(random(random(35))))  2005 India ink on 24 sheets of graph paper hung in a grid select University Galleries presents: Siebren Versteeg  2005 select Long Division  2005 digital program output to projection on floor select Suicidal  2005 balanced plexiglass, pedestal select Dazed and Confused  2005 graphie, Duratrans on acrylic 10' radius, 8' tall select Vietnam Memorial (after Oldenberg)  2005 concrete, paint, 18"x18"x18" select Life w/Dell, War w/Sony  2004 digital program, computer, large screen television evolving algortimically generated composition based on the game of life select Videotaping Everything I See  2004 lightbox, 24"x20" select Independence Day  2004 edition of inkjet posters poster for POST-Chicago, text reads as follows: "The problem with CD as it is now understood is that it has no effect on the core of organization; instead, it tends to concentrate on one localized sedentary structure. In the case of national or multinational institutions, such actions are no more disruptive than a fly biting an elephant. Back when power was centralized in sedentary locations, this strategy made sense, but it is vain now that power is decentralized. To dominate strategic sites in physical space was once the key source of power, but now domination rests on the ability of an institution to move where resistance is absent, in conjunction with the ability to temporarily appropriate a given physical space as needed. For an oppositional force to conquer key points in physical space in no way threatens an institution. Let us assume that a group of dissidents managed to occupy the White House. It might prove embarrassing for the administration in power and for the Secret Service, but in no way would this occupation actually disrupt the efficient functioning of executive power. The presidential office would simply move to another location. The physical space of the White House is only a hollow representation of presidential authority; it is not essential to it." - Critical Art Ensemble 1997 select Where's Waldo  2004 inkjet iron-on, military jacket select Untitled Film I  2004 Internet connected computer programs output to projections, realtime obituary listings, realtime birth announcements select Independence Day  2004 rented and paused dvd select Being Here  2003 digital output to projection from computer, live cable television feed select History  2003 Silicon Bronze, velvet, wood detail shows piece as exhibited with "Being Here" select History (maquette)  2003 pine, foam, velvet, enamel History Channel logo fabricated in relief to 4' x 4' select CC  2003 Internet connected computer program output to wall mounted television, realtime diary feeds select Dynamic Ribbon Device  2003 Internet connected computer program output to plasma screen realtime AP news as formatted into a Coke vignette select Emergency  2002 computer program select Affirmations  2002 Internet connected computer program output to projector, realtime web searches select Network  2002 Internet connected computer program output to wall size projection program uses internet protocol to scrape the front images from major network news web sites. The images are recontextualized into the television screens of an empty newsroom panorama. select Rocket  2002 computer program output to wall mounted television select Home Office  2002 computer program output to beige monitor select Associated Press  2002 Internet connected computer program output to full wall size projection, front page image from CNN.com select Solitaire  2002 program, computer, desk, headphones, computer monitor select Cleaning Down the House  2001 ladder, duratrans, flourescent lights, pine, rag images of the artist cleaning grafitti of of his residence are juxtaposed with those of his suburban upbringing select Junkyard  2001 balsa, batteries, tuperware, dirt select LensCrafter  2001 broken glasses frames, acrylic, glasses case select Delf  2001 laptop computer, candle, paper, program select HO Scale  2001 video projection, 16 minutes video and audio of a model HO Train train is slowed to 20% speed and looped as if a 16 minute long freight, projected to 8' x 11' select Video Feedback  2001 bean bag, video, projector, television a self portrait of the artist tinkering on an unplugged electric guitar is projected over the screen of a live broadcast T.V. signal. select Uroboros  2001 model train select Explosions  2001 computer program select Untitled (Birds)  2001 computer program output to wall mounted television select I.M.  2001 computer program output to projector select Inauguration  2001 computer program output to wall mounted television select First Chicago  2000 video - 3 min. select Retire  2000 toy cars, television, mixed media select 18 and Life  2000 cassette tapes, laser prints, cassette rack select Line  2000 video - 2 min. select P in P  2000 television, acrylic a painted television set formats live aired programming as if talking head news select Pop-Bot  2000 speaker, popcorn, stereo select Sci-Fi  2000 video - 3 min. select Light as a Feather, Stiff as a Board  1999 foam board, laser prints, miniature radio select SoftBall  1999 mixed media, ping-pong table select 3 ships  1999 sugar packets, balsa, pine, acrylic nautical themed sugar packets as hung in a miniature room select Rated R  1999 mixed media select Still Life  1999 cigarette box, laser print select Mobile Surreal  1999 foam board, laser prints, string select Sensory Deprivation Tank  1999 slide projectors, slides select Projector  1999 video projector, video, motor, wheels select Washington  1999 laser print, frame, acrylic select Cricket  1999 dart board, mixed media select Roll  1999 toilet paper roll, motor , video, mixed media select Books on Tape  1999 laser print select I-Robot  1999 mixed media select Televise  1999 video camera, mixed media select Untitled (cars)  1999 laser print, acrylic, wood 4" x 5" ongoing series of print/paintings select Untitled (cup)  1999 coffee cup, mixed media, frame select A Meeting of Our Differences in 16 Increments  1999 laser prints, strobe light, record, player a zoetrope made of 16 paper-doll increments of a morph beetween the artist and partner spinning atop a skipping scratchy record, a strobelight "animates" the transformation select Record  1999 tape recorder, mixed media the contents of a miniature alleyway dumpster are churned by the pulsing speaker of a tape player