{
  "schema": "ab5d-dossier/1",
  "slug": "florian-zumbrunn",
  "name": "Florian Zumbrunn",
  "subtitle": "Code, color, and the productive force of surprise",
  "lede": "Florian Zumbrunn treats code as both a compositional instrument and a field of discovery. His work moves between screen, print, projection, and hand-finished object.",
  "url": "https://ab5d.xyz/artists/florian-zumbrunn/",
  "bibliography_url": "https://ab5d.xyz/artists/florian-zumbrunn/links/",
  "content_url": "https://ab5d.xyz/api/artists/florian-zumbrunn.json",
  "updated": "2026-07-11",
  "tier": "compact",
  "editions": 300,
  "collections": 1,
  "otdh": {
    "rank": 236,
    "score": 9442,
    "collector_identities": 152,
    "holder_addresses": 154,
    "projects": 1,
    "current_works": 299,
    "raw_collector_days": 303833,
    "median_project_hold_days": 1301,
    "snapshot_at": "2026-09-14T00:00:00.000Z",
    "methodology_url": "https://ab5d.xyz/artists/otdh/",
    "api_url": "https://ab5d.xyz/api/otdh/florian-zumbrunn"
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  "identity": {
    "artist": "Florian Zumbrunn",
    "website": "https://florianzumbrunn.com",
    "based": null,
    "practice": "Generative art, creative coding, print, projection, installation, and hybrid digital-physical production",
    "now": null,
    "raster": "https://www.raster.art/artist/florian-zumbrunn",
    "otdh": "[9,442 · rank 236 of 308](/artists/otdh/#artist-florian-zumbrunn)",
    "holding signal": "152 collector identities · 154 holder addresses · 303,833 raw collector-days · 14 Sep 2026",
    "collector tdh": "[fzTDH](/artists/florian-zumbrunn/fztdh/) · dashboard"
  },
  "socials": {
    "website": "https://florianzumbrunn.com",
    "x": null,
    "instagram": null
  },
  "profile_image_url": null,
  "profile_image_source": null,
  "works": [
    {
      "name": "Tout tracé",
      "editions": 300,
      "supply": 300,
      "artblocks_slug": "tout-trace-by-florian-zumbrunn",
      "url": "https://www.artblocks.io/collection/tout-trace-by-florian-zumbrunn"
    }
  ],
  "sections": [
    {
      "heading": null,
      "paragraphs": [
        "Florian Zumbrunn’s practice is grounded in a productive exchange between formal rules and unforeseen results. Trained at Gobelins after an early education shaped by science, drawing, and painting, he describes discovering creative coding through the work of Erik Natzke. That encounter redirected programming from a technical skill into an artistic medium. Zumbrunn later co-founded Makio&Floz, a studio operating between Paris and Tokyo, where installations, projection mapping, and experiments in public space established a durable interest in work that crosses physical and computational environments.",
        "Rather than using software as a neutral production tool, Zumbrunn writes systems whose behavior can redirect the work. Randomness is therefore neither decoration nor an abdication of authorship. It is a structured source of visual incidents that the artist tests, selects, and develops. A Galerie Data dossier describes more than a decade of work with creative code across installations, video mapping, websites, and generative images, particularly through JavaScript and WebGL. This technical continuity helps explain why his images can appear spontaneous while remaining tightly organized."
      ]
    },
    {
      "heading": "A drawing system under pressure",
      "paragraphs": [
        "*Tout tracé* entered Art Blocks on 8 February 2023 as a collection of **300 editions**. Its title, which can suggest that everything has been traced or charted, points to drawing as both action and system. Repeated linear marks accumulate into fields, grids, contours, and interruptions. The resulting images hover between diagram and textile, architectural plan and improvised notation.",
        "The series gains much of its energy from the tension between repetition and exception. A grid offers orientation, but variations in density, direction, color, and curvature prevent it from settling into a single stable reading. Lines behave like recorded gestures even when generated by code. Blocks of color and open intervals establish pauses, while abrupt changes in rhythm make the surface feel edited in real time. Across 300 editions, recurrence becomes a way to measure difference rather than suppress it.",
        "This approach also places *Tout tracé* within Zumbrunn’s broader negotiation between calculation and touch. The London Art Biennale listed his 2023 work *Under the Sakuras* as generative art printed on watercolor paper and finished with colored pencil and oil pastel. That material description clarifies an important aspect of his practice: the algorithm often supplies a beginning rather than a terminal form. Digital structure can be printed, handled, colored, projected, or translated by another machine."
      ]
    },
    {
      "heading": "From software to matter",
      "paragraphs": [
        "Zumbrunn’s later projects make this translation increasingly explicit. For Hennessy X.O in 2024, bespoke algorithms generated compositions that customers could preview before a robotic arm painted the selected design onto a molded paper-pulp casing. The collaboration comprised 40 numbered pieces. Although commercial in context, its mechanics extend a central proposition of his studio practice: code can function like a brush, but its marks need not remain on a screen.",
        "A related exchange between computation and material memory appears in *Collective Memories*, made with Benjamin Bardou. Zumbrunn’s algorithms from his seasonal series were combined with Bardou’s image processing and motion techniques, using data associated with Giverny to animate the compositions. Here, Impressionism operates less as a style to imitate than as a historical prompt concerning light, atmosphere, and perception.",
        "> Zumbrunn’s systems are most persuasive when order remains visible but never complete.",
        "His international presentations reinforce this movement across formats. The 2025 DIG Shibuya program described *Odysseys* as an Ethereum-minted generative series combining discovery, nostalgia, fantasy environments, and references to ukiyo-e. Such projects broaden the visual vocabulary established in *Tout tracé*, yet the underlying method remains recognizable. Rules create a field of possibility, surprise becomes a compositional test, and the selected output can migrate among blockchain, display, paper, pigment, installation, and robotic gesture."
      ]
    }
  ],
  "body_markdown": "Florian Zumbrunn’s practice is grounded in a productive exchange between formal rules and unforeseen results. Trained at Gobelins after an early education shaped by science, drawing, and painting, he describes discovering creative coding through the work of Erik Natzke. That encounter redirected programming from a technical skill into an artistic medium. Zumbrunn later co-founded Makio&Floz, a studio operating between Paris and Tokyo, where installations, projection mapping, and experiments in public space established a durable interest in work that crosses physical and computational environments.\n\nRather than using software as a neutral production tool, Zumbrunn writes systems whose behavior can redirect the work. Randomness is therefore neither decoration nor an abdication of authorship. It is a structured source of visual incidents that the artist tests, selects, and develops. A Galerie Data dossier describes more than a decade of work with creative code across installations, video mapping, websites, and generative images, particularly through JavaScript and WebGL. This technical continuity helps explain why his images can appear spontaneous while remaining tightly organized.\n\n## A drawing system under pressure\n\n*Tout tracé* entered Art Blocks on 8 February 2023 as a collection of **300 editions**. Its title, which can suggest that everything has been traced or charted, points to drawing as both action and system. Repeated linear marks accumulate into fields, grids, contours, and interruptions. The resulting images hover between diagram and textile, architectural plan and improvised notation.\n\nThe series gains much of its energy from the tension between repetition and exception. A grid offers orientation, but variations in density, direction, color, and curvature prevent it from settling into a single stable reading. Lines behave like recorded gestures even when generated by code. Blocks of color and open intervals establish pauses, while abrupt changes in rhythm make the surface feel edited in real time. Across 300 editions, recurrence becomes a way to measure difference rather than suppress it.\n\nThis approach also places *Tout tracé* within Zumbrunn’s broader negotiation between calculation and touch. The London Art Biennale listed his 2023 work *Under the Sakuras* as generative art printed on watercolor paper and finished with colored pencil and oil pastel. That material description clarifies an important aspect of his practice: the algorithm often supplies a beginning rather than a terminal form. Digital structure can be printed, handled, colored, projected, or translated by another machine.\n\n## From software to matter\n\nZumbrunn’s later projects make this translation increasingly explicit. For Hennessy X.O in 2024, bespoke algorithms generated compositions that customers could preview before a robotic arm painted the selected design onto a molded paper-pulp casing. The collaboration comprised 40 numbered pieces. Although commercial in context, its mechanics extend a central proposition of his studio practice: code can function like a brush, but its marks need not remain on a screen.\n\nA related exchange between computation and material memory appears in *Collective Memories*, made with Benjamin Bardou. Zumbrunn’s algorithms from his seasonal series were combined with Bardou’s image processing and motion techniques, using data associated with Giverny to animate the compositions. Here, Impressionism operates less as a style to imitate than as a historical prompt concerning light, atmosphere, and perception.\n\n> Zumbrunn’s systems are most persuasive when order remains visible but never complete.\n\nHis international presentations reinforce this movement across formats. The 2025 DIG Shibuya program described *Odysseys* as an Ethereum-minted generative series combining discovery, nostalgia, fantasy environments, and references to ukiyo-e. Such projects broaden the visual vocabulary established in *Tout tracé*, yet the underlying method remains recognizable. Rules create a field of possibility, surprise becomes a compositional test, and the selected output can migrate among blockchain, display, paper, pigment, installation, and robotic gesture.",
  "images": [
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/409000000.png",
      "title": "Tout tracé #0",
      "caption": "2023, Tout tracé",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/409000060.png",
      "title": "Tout tracé #60",
      "caption": "2023, Tout tracé",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/409000120.png",
      "title": "Tout tracé #120",
      "caption": "2023, Tout tracé",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/409000179.png",
      "title": "Tout tracé #179",
      "caption": "2023, Tout tracé",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/409000239.png",
      "title": "Tout tracé #239",
      "caption": "2023, Tout tracé",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    },
    {
      "url": "https://media-proxy.artblocks.io/1/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/409000299.png",
      "title": "Tout tracé #299",
      "caption": "2023, Tout tracé",
      "rights": "Not CC0 - Art Blocks render, property of the artist/holders"
    }
  ],
  "references": [
    {
      "n": 1,
      "note": "Bright Moments records Zumbrunn’s transition from traditional art and science toward coding, Gobelins, and the Makio&Floz studio.",
      "url": "https://www.brightmoments.io/quarterly/florian-zumbrunn",
      "label": "Bright Moments"
    },
    {
      "n": 2,
      "note": "Galerie Data’s exhibition dossier describes Zumbrunn’s long-term creative-coding practice and use of JavaScript and WebGL.",
      "url": "https://www.galeriedata.com/3_DP_COLORFRAME-exhibition_Galerie_Data.pdf",
      "label": "Galerie Data dossier"
    },
    {
      "n": 3,
      "note": "The official Art Blocks collection record lists Tout tracé as 300 unique artworks released on 8 February 2023.",
      "url": "https://www.artblocks.io/collection/tout-trace-by-florian-zumbrunn?attributes=%7B%22Evolution%22%3A%7B%22type%22%3A%22enum%22%2C%22options%22%3A%7B%22Medium%22%3Atrue%7D%7D%7D",
      "label": "Art Blocks"
    },
    {
      "n": 4,
      "note": "The London Art Biennale identifies Under the Sakuras as a generative print finished with colored pencil and oil pastel.",
      "url": "https://www.londonbiennale.co.uk/2023/zumbrunn-florian/",
      "label": "London Art Biennale"
    },
    {
      "n": 5,
      "note": "Hennessy details the algorithms, customer selection, robotic painting process, paper-pulp casing, and 40-piece edition created with Zumbrunn.",
      "url": "https://press.hennessy.com/?p=18269",
      "label": "Hennessy press"
    },
    {
      "n": 6,
      "note": "Benjamin Bardou documents the computational and image-processing collaboration behind Collective Memories.",
      "url": "https://benjaminbardou.com/works/collective-memories.html",
      "label": "Collective Memories"
    },
    {
      "n": 7,
      "note": "DIG Shibuya’s 2025 program presents Odysseys as a generative series informed by nostalgia, imagined environments, and ukiyo-e.",
      "url": "https://2025.digshibuya.com/program/42",
      "label": "DIG Shibuya"
    }
  ],
  "bibliography": [
    {
      "category": "In the AB[500]: Art Blocks",
      "entries": [
        {
          "note": "Le Point profiles Zumbrunn as a generative artist who creates through algorithms.",
          "url": "https://www.lepoint.fr/high-tech-internet/florian-zumbrunn-un-artiste-generatif-qui-peint-avec-ses-algorithmes-06-07-2023-2527596_47.php",
          "label": "Le Point",
          "meta": "profile · 2023"
        }
      ]
    },
    {
      "category": "Interviews",
      "entries": [
        {
          "note": "The ROOTY Show discusses Zumbrunn’s conception of code as a painterly instrument and distinguishes his authored algorithms from generative AI.",
          "url": "https://rooty-agency.com/blog/posts/florian-zumbrunn-art-generatif-podcast",
          "label": "ROOTY Show",
          "meta": "interview · 2025"
        }
      ]
    },
    {
      "category": "Press and criticism",
      "entries": [
        {
          "note": "Neo Art Discovery surveys Zumbrunn’s custom-coded tools, hybrid material process, and principal series.",
          "url": "https://www.neoartdiscovery.com/featured/florian-zumbrunn",
          "label": "Neo Art Discovery",
          "meta": "profile · 2025"
        }
      ]
    },
    {
      "category": "Museums and institutions",
      "entries": [
        {
          "note": "The London Art Biennale’s 2023 archive records Zumbrunn and Under the Sakuras within the edition’s selected works.",
          "url": "https://www.londonbiennale.co.uk/category/biennale-2023/",
          "label": "London Art Biennale",
          "meta": "institutional record · 2023"
        }
      ]
    },
    {
      "category": "Galleries and exhibitions",
      "entries": [
        {
          "note": "A Paris exhibition listing describes Parfums d’été as a continuation of the Verse-presented Scents of Spring series.",
          "url": "https://www.jds.fr/paris/expos/parfums-d-ete-339852_A",
          "label": "JDS Paris",
          "meta": "exhibition · 2023"
        },
        {
          "note": "Benjamin Bardou’s Reminiscence press kit documents Collective Memories and its combination of algorithmic composition, image processing, and Giverny data.",
          "url": "https://benjaminbardou.com/files/collective-memories/Reminiscence%20-%20Press%20kit.pdf",
          "label": "Reminiscence",
          "meta": "exhibition dossier · 2025"
        }
      ]
    },
    {
      "category": "Essays, talks and podcasts",
      "entries": [
        {
          "note": "NFT Morning hosts Zumbrunn and Greweb for a discussion of generative-art platforms, curation, distribution, and collaboration.",
          "url": "https://www.nftmorning.com/p/559-art-generatif-n4-special-plateformes",
          "label": "NFT Morning",
          "meta": "podcast · 2023"
        },
        {
          "note": "NFT Morning brings Zumbrunn and Julien Gachadoat together to discuss artistic practice, technology, visibility, and the economics of generative art.",
          "url": "https://www.nftmorning.com/p/600-room-gen-art-n6-presentee-par",
          "label": "NFT Morning",
          "meta": "podcast · 2023"
        }
      ]
    },
    {
      "category": "Profiles and archives",
      "entries": [
        {
          "note": "Raster aggregates Florian Zumbrunn's tokenized works across platforms.",
          "url": "https://www.raster.art/artist/florian-zumbrunn",
          "label": "Raster",
          "meta": "profile · ongoing"
        },
        {
          "note": "Studio Artera describes Zumbrunn’s movement between tailor-made algorithms, printed images, pastel, pigment, and physical gesture.",
          "url": "https://en.studioartera.com/artistes/florian-zumbrunn",
          "label": "Studio Artera",
          "meta": "gallery profile · 2025"
        }
      ]
    },
    {
      "category": "Video",
      "entries": [
        {
          "note": "Bright Moments documents its Paris program, which included Zumbrunn among the artists presented through in-person minting and exhibition.",
          "url": "https://vimeo.com/915571327",
          "label": "Bright Moments Paris",
          "meta": "video · 2024"
        },
        {
          "note": "Zumbrunn’s process video documents Psykato, an earlier generative WebGL series based on kaleidoscopic transformation.",
          "url": "https://vimeo.com/224387333",
          "label": "Psykato process",
          "meta": "video · 2017"
        }
      ]
    }
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