Rahul Sharma is a multi-discplinary designer based in Berlin and has contributed to a variety of projects in media architecture, spatial design, and generative art. His expertise spans multimedia design, exhibition design, retail design, interactive installations, immersive spaces and visual performances, making him a versatile creator for phygital experiences. Rahul's artworks have been showcased at esteemed venues such as Flughafen Tempelhof Berlin, Silent Green Berlin, and Lightbox New York. Additionally, he freelances as an Art Director or Visual Artist, collaborating with labels and sound artists to craft visual identities for releases, including album art and event visuals, which he often performs live. We spoke to him about data, generative systems and art.
1. How would you describe your artistic practice?
My artistic practice operates at the intersection of generative systems, data-driven processes, and human creativity. I explore the aesthetic and conceptual possibilities of algorithmic frameworks, employing computational tools not merely as instruments but as collaborators in the creative process. Through projects such as The Samsara Project - Manushya, I investigate how structures derived from code, algorithms, and systems theory can serve as a lens to reinterpret organic forms, human behaviour, and cultural patterns. This practice is deeply iterative, balancing systematic experimentation with an openness to serendipity and emergent phenomena.
2. What interests you about working with generative technologies?
Generative technologies intrigue me because they redefine traditional notions of authorship, agency, and creativity. These systems allow me to explore dynamic, self-organising processes that often mimic natural phenomena, such as growth, decay, and evolution. For instance, in Fragmented DreamI Kaosmos X Rahul , I employed chaos theory/ strange attractors to model complex, evolving visual patterns that reference both organic systems and human-made structures. The unpredictability of these technologies is particularly compelling, as it challenges conventional notions of control and introduces an element of co-creation between artist and machine.
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3. How do you incorporate data into your artwork?
Data functions as a fundamental medium in my artistic practice, serving both as a conceptual framework and a material source. By engaging with datasets—ranging from environmental metrics to socio cultural trends—I seek to transform abstract information into tangible, sensory experiences. For example, in Un-Tangible,I utilised climate data in real time to generate visual, and auditory outcomes. This process involved translating quantitative inputs into aesthetic systems, uncovering latent patterns and narratives embedded within the data. Through such works, I aim to bridge the gap between empirical observation and subjective interpretation.
4. How would you describe the relationship between art and technologies?
The relationship between art and technology is dialectical, rooted in a mutual exchange of influence and transformation. Historically, technological advancements have consistently redefined the boundaries of artistic practice, from the invention of the camera to the rise of artificial intelligence. Today, this interplay is particularly pronounced as artists leverage computational tools to interrogate concepts such as authorship, autonomy, and the post-human condition. My project Anti Spatial, for example, reflects on this dynamic by exploring how social media data in real time can serve as both a medium and a subject of critique. Ultimately, I view this relationship as one of co-evolution, where art not only appropriates technology but also serves as a critical lens through which its ethical, social, and philosophical implications are examined.
5. What is your hope for the viewer to take away from your work?
Through my work, I aim to foster a sense of intellectual curiosity and critical reflection, encouraging viewers to reconsider their relationship with systems, both natural and artificial. In Kat X Rahul, for instance, I sought to provoke questions about specific theme, e.g., we explore fragmented aspects of the self and the experience of becoming lost in the creative process. By blending the analytical rigoUr of computational processes with the emotive power of artistic expression, I hope to cultivate a space where viewers can engage with complex ideas in a way that is both accessible and thought
