Motzko / Kim Asendorf

Painted with custom software by Kim Asendorf. ©️2022.
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PXL DEX is a series of fully on-chain real time animations, where each pixel is a token in itself. PXL DEX is the first artwork within the PXL ecosystem, an ongoing work series to experiment with pixels as utility tokens. The collection consists of 256 NFTs that are deployed via a custom Smart Contract on the Ethereum Mainnet.

The NFTs can be minted for 0.5 ETH plus 0.000001 ETH per pixel. Each pixel is actually a PXL token and will initially be owned by the PXL DEX Smart Contract to be assigned to the minted NFT. PXL tokens can be withdrawn and deposited by the owner. The minter is allowed to mint up to 500.000 PXL tokens along with the NFT. Each Deck has an additional allowance of 500.000 PXL to be minted any time later. The allowance is bound to the NFT and will transfer along with the NFT ownership.

A single Deck can hold all available PXL tokens, there is no limit on the Smart Contract level. The only limitation is the GPU of the computer that displays the Deck.

Each Monogrid artwork gets initialized with a start up algorithm that builds up a set of rectangles and fills them with pixels. The style of the initial filling depends on the position in the main grid.

The first row (#00-0F) starts with a low density pixel grid. The density increases up to the middle row (#70-7F), where the pixel grid converts into a line grid. From the middle (#80-8F) to the bottom (#F0-FF) the density decreases again.

The color balance fades from white on the left column (#00-F0) to black on the right column (#0F-FF). The complexity of the initial setup is highest in the middle (#77, #78, #87, #88) and gradually reduces to the outside. The dynamic of the animation works in the opposite direction. The simpler the structure, the higher the dynamic of the movement.

There is a set of 16 animations at work. 4 noise based animations, 4 shifting animations, 4 modulo based animation and 4 reset animations, all run in parallel. Each animation selects a rectangle from the initial setup and edits the pixels in this area. The selection process runs independently and animations can overlap which results in a new style of animation.

Cargo is a series of abstract paintings created with animated pixels that are constantly moving without ever repeating. It is painting new patterns on the fly in between macro and micro compositions with a duality of different rhythms and continuous synchronicity. The focus is alternately drawn to detail, then distracted by movement elsewhere and caught up in the overall picture. This rhythm turns the visual complexity into an active experience.

ASDF: “My work should offer individual ways of interpretation, or even allow one to find some self in it. It wants to inspire some thoughts about dynamics and systemics and also just mesmerize the audience, capture them in a little fantasy, or just for a brief moment in a state of satisfaction.”

The formal structure of a book is beautiful by itself, but its aesthetic is the tacit atmosphere within which events take place in a story.

SABOTAGE #1006 / This artwork is not just about the art, but also about an intimate personal experience. The collector is invited to the creation process, to be in dialog with the artist, while watching him creating the artwork in a video chat. The creation of the art will become a performance and eventually the collector will become a part of the artwork.

https://sabotage.kim

CHROME, collection of 128 channels, 2023

On-Chain multi-channel real-time animation, JavaScript, GLSL, variable dimensions

Chrome is a 128 channel realtime animation, coordinated by universal time (UTC). It emerges from a continuous linear motion, interrupted by a choreography between rhythm and random. Every channel is offset one additional second into the future, based on the token id assigned by the custom smart contract. This relation becomes visible when multiple channels are running in a shared space. Compositions emerge and evolve at various regular intervals, without ever repeating. Once per hour the synchronization stops and all channels act individually, before they transition back to coordination.

https://chrome.gl

Alternate is a collection of abstract real-time animations, that start with simple compositions and color palettes to evolve endlessly and to develop a depth in geometry and color over time. All pixel movements are restricted to their eight surrounding neighbors and occur at the speed of exactly one pixel per frame.

The artworks are written in GLSL (WebGL2) and JavaScript, utilize the P3 color space and respond to any screen size.

The code is fully on-chain to be delivered directly from the Smart Contract without any third party render engine involved. Unlike usual, the work extends into the field of action of the preview image, making it part of the work.

Each NFT includes 4 versions of the artwork, that can be alternated by its owner by calling the modify function of the Smart Contract. The alternation call is protected by a fee and can not be reverted.

Collectors of this piece will become part of the artwork itself. The artwork updates the collectors list every minute.

Tr4ns4ctions is a series of real-time animations that use pixels to create an abstraction of the movement of values. The pixels are constantly rearranging, being transferred from offer to taker, liquify, appear and disappear. They are forming endless compositions, sometimes intransparent or with strange spins.

The level of abstraction has been set to a 2x pixel size and the color palette of the NES with 12 different color modes. 16 pixel patterns serve as the fundamental building blocks and a simplex noise field determines the direction of movement.

click || space => pause/unpause

View all tr4ns4ctions at https://tr4ns4ctions.com

On-Chain Real-Time Animations. Kim Asendorf [2024], commissioned by Tribute Labs, curated by XX DAO (f/k/a Bright Opps DAO).

Our minds have dedicated memory slots for each person we have ever met. These slots are constantly rewritten and updated with new experiences and the alteration of the person over time, thus deleting or overwriting old data. Memories are the sum of all the residues of images, those which remained, those which were confirmed. But how can we touch this erasure that we can no longer reach? We were all children, and teenagers, and this radical transition is the perfect template to visualize the memory behavior of our minds, resembles somewhere this uncontrolled deletion, this reassembly of cells, or pixels. These in-between states, that we all share have been materialized, suspended in time, so that we never forget where we're coming from, never pretend that it's all real. Someday soon this will all be someone else's dream.

Ellie Hedden & Kim Asendorf, 2022

JPEG, 640x480px, 2013

Doppelgänger is a collaboration between Justin Aversano and Kim Asendorf. Using unreleased portraits from Aversano’s Twin Flames series, Asendorf applies his Pixel Sorting technique to create generative, glitched reinterpretations. Each piece transforms a photographic moment into a fragmented digital echo—bridging photography and algorithmic art.

Event Horizon is a generative work by Kim Asendorf, simulating circular energy fields in motion—colliding, interacting, and distorting the grid beneath them. It was released as part of Bright Moments Tokyo and unveiled at the historic Former Asakura Residence in Shibuya—the first time the landmark hosted an art exhibition. I was there with the artist when the piece was revealed.

Cargo is a series of abstract paintings created with animated pixels that are constantly moving without ever repeating. It is painting new patterns on the fly in between macro and micro compositions with a duality of different rhythms and continuous synchronicity. The focus is alternately drawn to detail, then distracted by movement elsewhere and caught up in the overall picture. This rhythm turns the visual complexity into an active experience.

ASDF: “My work should offer individual ways of interpretation, or even allow one to find some self in it. It wants to inspire some thoughts about dynamics and systemics and also just mesmerize the audience, capture them in a little fantasy, or just for a brief moment in a state of satisfaction.”