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- From Noise & Translated Gestures Debut at Art Basel Miami Beach
From Noise & Translated Gestures Debut at Art Basel Miami Beach
Tyler Hobbs explores the algorithmic gesture in From Noise & Translated Gestures, debuting at Art Basel's Zero 10
Introducing From Noise & Translated Gestures

From Noise #1
This December, Tyler Hobbs presents From Noise and Translated Gestures as part of Art Basel Miami Beach's Zero 10, marking a significant milestone for digital art at the world's premier contemporary art fair. The series will be presented in partnership with SOLOS Gallery.
Artist Statement
When our hands no longer manually control the tools of artistic creation, what becomes of the gesture? Is there still a way in which the gesture evolves, continuing to represent the vitality of the creator?
From Noise explores the concept of the “translated gesture”, as contrasted with the “native gesture”. The native gesture is that which comes naturally to the medium, and to the method of mark making. When painting by hand, it may be the dashes and dabs we find in the work of Joan Mitchell or Cy Twombly. On the computer, and executed with code, the native gesture surely consists of straight lines, rectangles, and pixels. This is the path of least resistance.

From Noise #11 Detail
The “translated gesture,” on the other hand, extracts the essence of a mark-making style from one medium or context and applies it in an entirely different domain. For example, consider Roy Lichtenstein’s famous translation of the brushstroke into a format suitable for newspaper comics. The essence of the original brushstroke remains, but the new form has been carefully constructed by the artist in order to allow it to exist in a world where it cannot naturally exist.
In From Noise, similar work has been done to translate the free, spontaneous gestures of artists like Twombly and Mitchell into the algorithmic realm. This process of translation into code invites questioning. How spontaneous were these original marks, really? What does it mean to be spontaneous? Is it necessary for the body to take part in this spontaneous creative act, or can the mind alone do the important part of the work? Is “spontaneity” just the presence of randomness that the artist has allowed to be injected into the creative process at chosen moments, in chosen ways? Perhaps crafted chaotic moments can be just as meaningful to the artist and to the viewer.

From Noise #8
This work was inspired not only by the work of Mitchell and Twombly, but also by the density and chaos of urban graffiti and sticker spots. In those locations where scores of tags or hundreds of stickers compete for the same small piece of real estate, the aesthetic can somehow transcend its early state of noise and disorder, unexpectedly reaching a state of complex harmony. The lack of overall design seems to promote a type of anarchistic equality, with all of the different visual elements similarly jostling for attention. Each mark had its color chosen independently from the rest, without consideration for potential clashes. And yet, as the clashes stack up, their individual importance eventually dissolves away. To stand out is to fit in.

From Noise #7 Detail
From Noise comprises 12 iterations plus an artist proof, presented as algorithmic works and non-fungible tokens on the Ethereum blockchain. In addition to the digital works, From Noise is available as prints on wood panel with gloss varnish. The physical format emphasizes the scale and materiality of the translated gesture.

From Noise #1, print on wood panel with gloss varnish
The natural wood grain serves as the background, creating a dialogue between the organic patterns of the material and the computational gestures layered above, bridging the digital and analog worlds. Iterations #1-3 + AP have been produced for display at at Art Basel, while iterations #4-12 are available as prints on panel on request for a limited time. Please contact SOLOS Gallery for pricing..

Framed 48 x 60 inch print on wood panel with gloss varnish
Translated Gestures
Translated Gestures presents a contemplative counterpoint to From Noise. This edition of 6 monochrome silkscreen prints on Stonehenge paper isolates individual details from the larger compositions, inviting quiet examination of single gestures rather than dense accumulation. Housed in a clothbound folio, the prints are designed with space and stillness in mind, like a Zen rock garden where the eye wanders before settling into contemplation. The work asks whether spontaneity can exist within algorithmic systems, and whether carefully crafted moments of randomness can carry the same meaning as marks made by hand.

Clothbound folio & silkscreen prints
The core algorithmic processes behind Translated Gestures were originally developed while working on my From Noise series of works, but I felt that they deserved their own specific presentation. These screen prints were designed with space and slowness in mind. I encourage the viewer to consider spontaneity, what it means, and why we might value it. Perhaps it does not need to be tied to the body and the physical world after all.

Translated Gestures #1-6
Translated Gestures
Dimensions: 14 × 16 in (35.5 × 40.5 cm)
Medium: Generative Design, Monochrome Limited Edition Screen Prints on Stonehenge Paper, housed in a clothbound folio
Iterations: 6 (Edition of 30 + AP)
Pricing: $6,000, releasing December 3, 2025. Stay tuned to our social media channels for additional details.

Detail of Translated Gestures #1-6
From Noise and Translated Gestures will be on view at Art Basel Miami Beach, December 3–7, 2025, presented by SOLOS Gallery.
Thank you for following along with the studio's latest developments. We're honored to share these milestones with you and look forward to sharing what comes next.