{ "schema": "ab5d-dossier/1", "slug": "licia-he", "name": "Licia He", "subtitle": "Algorithms as scores for color, matter, and machines", "lede": "Licia He treats code as a visual language and the plotter as a collaborator. Her practice gives computational systems the texture, variability, and emotional charge of painting.", "url": "https://ab5d.xyz/artists/licia-he/", "bibliography_url": "https://ab5d.xyz/artists/licia-he/links/", "content_url": "https://ab5d.xyz/api/artists/licia-he.json", "updated": "2026-07-11", "tier": "standard", "editions": 500, "collections": 1, "otdh": { "rank": 190, "score": 11391, "collector_identities": 285, "holder_addresses": 291, "projects": 1, "current_works": 500, "raw_collector_days": 602097, "median_project_hold_days": 1396, "snapshot_at": "2026-09-14T00:00:00.000Z", "methodology_url": "https://ab5d.xyz/artists/otdh/", "api_url": "https://ab5d.xyz/api/otdh/licia-he" }, "identity": { "artist": "Licia He", "website": "https://www.eyesofpanda.com/", "based": "Born 1992, China. Lives and works in Tokyo", "practice": "Generative systems, robotic drawing, watercolor, code, and human-machine collaboration", "now": "Full-time artist; founder of The Generative Craft Lab, Ltd", "raster": "https://www.raster.art/artist/licia-he", "otdh": "[11,391 · rank 190 of 308](/artists/otdh/#artist-licia-he)", "holding signal": "285 collector identities · 291 holder addresses · 602,097 raw collector-days · 14 Sep 2026", "collector tdh": "[lihTDH](/artists/licia-he/lihtdh/) · dashboard" }, "socials": { "website": "https://www.eyesofpanda.com/", "x": "@Licia_He", "instagram": "Blahblahpaperblah" }, "profile_image_url": "https://pbs.twimg.com/profile_images/1470985406074302465/tpsD38ZH_400x400.jpg", "profile_image_source": "https://x.com/Licia_He", "works": [ { "name": "Running Moon", "editions": 500, "supply": 500, "artblocks_slug": "running-moon-by-licia-he", "url": "https://www.artblocks.io/collection/running-moon-by-licia-he" } ], "sections": [ { "heading": null, "paragraphs": [ "Licia He works where the procedural logic of software meets the physical behavior of pigment. Trained across studio art, computer science, and information science, she writes algorithms that organize color and form, then extends their operation through drawing robots, brushes, watercolor, paper, and other responsive materials. The resulting images are neither conventional paintings translated into code nor digital compositions merely transferred to paper. They are records of a distributed process in which artist, program, machine, tool, and material each shape the final appearance. Her description of systems, robots, and materials as the three pillars of her practice provides a concise account of this deliberately hybrid method.", "That method emerged through an unusually integrated education. He studied studio art and computer science as an undergraduate, initially concentrating on photography and printmaking, and later pursued doctoral research in information science. Restricted access to conventional studios during graduate school helped turn her attention toward web-based generative systems. An encounter with an AxiDraw plotter then offered a practical bridge between computation and the satisfaction of making a physical object. Her work since 2018 has developed that bridge into a sustained inquiry: what kinds of feeling become possible when an algorithm issues instructions but a brush, machine, and liquid medium remain susceptible to friction, saturation, drift, and error?" ] }, { "heading": "A machine that can hesitate", "paragraphs": [ "The plotter is often associated with precision. It follows coordinate paths, repeats instructions, and converts vectors into controlled movement. He values that precision, but her practice gains force from testing its limits. She has adapted plotting systems to carry brushes and reload them with paint, treating the robot less as an industrial printer than as a participant in a studio routine. In an early account of her process, she explained that experimentation with eyeshadow helped prompt the automatic brush-reloading mechanism that later supported her watercolor work. A seemingly eccentric material trial therefore became technical research, while the machine became a means of enlarging what painting could encompass.", "Watercolor complicates the plotter's promise of exact reproduction. Pigment concentration changes, brushes deform, water spreads through paper fibers, and one mark may alter the surface encountered by the next. These events introduce consequential differences without dissolving the algorithmic structure. He has characterized her practice as a search between structure and fluidity, precision and error. The formulation is important because it refuses a simple opposition between human expression and mechanical regularity. Expressiveness arises through their contact. Code specifies relations, the robot performs gestures, and matter interprets both.", "This position also connects He to the longer history of computer-generated drawing. Early practitioners used plotters because screens and color printing were limited or unavailable, making the drawing machine a primary route from computation to visible form. The Feral File exhibition *+GRAPH*, curated by Casey Reas, placed He among artists renewing that historical relationship between software and plotted objects. Each participant created generative software capable of producing many drawings and selected thirty variations for physical realization. In He's contribution, custom software repeatedly directed a brush between paint and paper, with individual drawings requiring extended periods of robotic rendering. The process makes duration tangible. What appears as an immediate composition is also the residue of thousands of instructed movements.", "> He’s plotter does not eliminate the hand. It redistributes gesture across code, mechanism, brush, water, and paper." ] }, { "heading": "Running Moon: light as a generative condition", "paragraphs": [ "*Running Moon* brought this material intelligence into an Art Blocks long-form release. Issued through Art Blocks Curated on 13 July 2022, the project consists of exactly 500 editions. Its compositions investigate an encounter between moonlight and clouds through layered fields of translucent color, segmented contours, and irregular luminous openings. Rather than illustrating a particular sky, the system constructs atmospheric relationships. Circular or partially obscured light sources appear to press against veils, bands, and cellular regions whose shifting densities suggest weather without fixing a location.", "He developed the work through extensive physical sketching before translating its visual concerns into a generative system. She has said that elaborate projects such as *Running Moon* begin with groups of sketches, preserving observation and hand-led experimentation within the later computational process. Watercolor and stained glass informed the rendering mechanism. Their shared qualities are especially apt: both organize light through colored material, both depend upon adjacency and transparency, and both make boundaries active rather than neutral. In stained glass, a dark framework separates luminous panes. In watercolor, edges arise through pooling, overlap, and absorption. *Running Moon* synthesizes these effects into code while retaining their visual memory.", "The edition structure allows the project's central conditions to be tested repeatedly. Across 500 outputs, the moon may dominate, recede, fragment, or become legible only through the behavior of surrounding color. Palette and geometry alter the apparent temperature and depth of the scene. Some outputs read as nocturnes, while others approach radiant abstraction. Repetition here is not duplication. It establishes a field in which viewers can compare how small procedural changes redirect mood." ] }, { "heading": "From output to encounter", "paragraphs": [ "Long-form generative art can make variation visible at collection scale, but He's wider practice insists that computation also has bodily and social dimensions. A plotted watercolor occupies time, requires preparation, and carries evidence of contact. Her exhibition *I Have To Talk To A Plotter* made this relationship explicit. Presented by GAZELL.iO in 2024, the solo project combined mixed-media plotter paintings with a live machine producing works during the exhibition. The title frames operation as conversation: instructions travel from artist to code and machine, while resistance and unforeseen behavior return information to the artist.", "The works in the exhibition's *A Conversation* series were generated through an original Python-based system and rendered with customized extra-fine brushes and watermedia. Their production demonstrates that the digital and physical are not successive, sealed stages. Material tests can reshape software, while algorithmic structures suggest new tools and gestures. This feedback distinguishes He's work from accounts of automation centered on replacement. The machine extends the studio's range because it demands care, adjustment, and interpretation.", "Her public activities likewise reposition the plotter as an accessible creative instrument. At the Victoria and Albert Museum's 2024 Digital Design Weekend, *Painting with Plotters* invited visitors to explore the technology behind her practice and participate in generative plotter painting. A collaborative creative-coding studio developed with Jasmine Jones similarly proposed plotters as approachable CNC machines capable of connecting programming with immediate physical artifacts. These educational settings make process legible without reducing the artwork to a demonstration. They show that the conceptual questions in He's practice, including authorship, control, translation, and material agency, can be encountered through making." ] }, { "heading": "Emotional systems", "paragraphs": [ "He consistently describes algorithms as vehicles for stories and emotions rather than exercises in mathematical display. This emphasis is evident in the nocturnal atmosphere of *Running Moon*, but it extends across her practice. *Fictional Lullaby*, created for *+GRAPH*, addresses anxious thought at night through a system that could generate millions of compositions, from which thirty plotter-rendered paintings were produced. The enormous space of possible images contrasts with the intimacy of sleepless experience. Computation does not distance the subject. It models the recursive, shifting patterns through which emotion occupies attention.", "This emotional orientation also helps explain the importance of color. He's compositions often contain sweeping arcs, translucent cells, and clustered geometries that can suggest meteorological, botanical, or bodily processes without settling into representation. Color carries transitions between calm and intensity. The algorithm supplies a framework for those transitions, yet the resulting images resist the coldness often projected onto computational art. As one critical discussion of contemporary plotter practice observes, these artists exploit papers, pigments, inks, and hybrid media to make objects materially distinct from ordinary digital prints.", "The significance of He's work lies in this refusal of purity. Her programs are not immaterial concepts, her robots are not neutral executors, and her paintings are not autonomous objects detached from computation. Each work is an assembly of decisions and behaviors. *Running Moon* offers a particularly clear statement of that position. Across its 500 editions, a stable system continually encounters difference, producing images in which light seems structured but never immobilized. The moon becomes less a depicted object than a condition for observing how code can hold atmosphere, how variation can carry feeling, and how a machine can participate in the making of tenderness." ] } ], "body_markdown": "Licia He works where the procedural logic of software meets the physical behavior of pigment. Trained across studio art, computer science, and information science, she writes algorithms that organize color and form, then extends their operation through drawing robots, brushes, watercolor, paper, and other responsive materials. The resulting images are neither conventional paintings translated into code nor digital compositions merely transferred to paper. They are records of a distributed process in which artist, program, machine, tool, and material each shape the final appearance. Her description of systems, robots, and materials as the three pillars of her practice provides a concise account of this deliberately hybrid method.\n\nThat method emerged through an unusually integrated education. He studied studio art and computer science as an undergraduate, initially concentrating on photography and printmaking, and later pursued doctoral research in information science. Restricted access to conventional studios during graduate school helped turn her attention toward web-based generative systems. An encounter with an AxiDraw plotter then offered a practical bridge between computation and the satisfaction of making a physical object. Her work since 2018 has developed that bridge into a sustained inquiry: what kinds of feeling become possible when an algorithm issues instructions but a brush, machine, and liquid medium remain susceptible to friction, saturation, drift, and error?\n\n## A machine that can hesitate\n\nThe plotter is often associated with precision. It follows coordinate paths, repeats instructions, and converts vectors into controlled movement. He values that precision, but her practice gains force from testing its limits. She has adapted plotting systems to carry brushes and reload them with paint, treating the robot less as an industrial printer than as a participant in a studio routine. In an early account of her process, she explained that experimentation with eyeshadow helped prompt the automatic brush-reloading mechanism that later supported her watercolor work. A seemingly eccentric material trial therefore became technical research, while the machine became a means of enlarging what painting could encompass.\n\nWatercolor complicates the plotter's promise of exact reproduction. Pigment concentration changes, brushes deform, water spreads through paper fibers, and one mark may alter the surface encountered by the next. These events introduce consequential differences without dissolving the algorithmic structure. He has characterized her practice as a search between structure and fluidity, precision and error. The formulation is important because it refuses a simple opposition between human expression and mechanical regularity. Expressiveness arises through their contact. Code specifies relations, the robot performs gestures, and matter interprets both.\n\nThis position also connects He to the longer history of computer-generated drawing. Early practitioners used plotters because screens and color printing were limited or unavailable, making the drawing machine a primary route from computation to visible form. The Feral File exhibition *+GRAPH*, curated by Casey Reas, placed He among artists renewing that historical relationship between software and plotted objects. Each participant created generative software capable of producing many drawings and selected thirty variations for physical realization. In He's contribution, custom software repeatedly directed a brush between paint and paper, with individual drawings requiring extended periods of robotic rendering. The process makes duration tangible. What appears as an immediate composition is also the residue of thousands of instructed movements.\n\n> He’s plotter does not eliminate the hand. It redistributes gesture across code, mechanism, brush, water, and paper.\n\n## Running Moon: light as a generative condition\n\n*Running Moon* brought this material intelligence into an Art Blocks long-form release. Issued through Art Blocks Curated on 13 July 2022, the project consists of exactly 500 editions. Its compositions investigate an encounter between moonlight and clouds through layered fields of translucent color, segmented contours, and irregular luminous openings. Rather than illustrating a particular sky, the system constructs atmospheric relationships. Circular or partially obscured light sources appear to press against veils, bands, and cellular regions whose shifting densities suggest weather without fixing a location.\n\nHe developed the work through extensive physical sketching before translating its visual concerns into a generative system. She has said that elaborate projects such as *Running Moon* begin with groups of sketches, preserving observation and hand-led experimentation within the later computational process. Watercolor and stained glass informed the rendering mechanism. Their shared qualities are especially apt: both organize light through colored material, both depend upon adjacency and transparency, and both make boundaries active rather than neutral. In stained glass, a dark framework separates luminous panes. In watercolor, edges arise through pooling, overlap, and absorption. *Running Moon* synthesizes these effects into code while retaining their visual memory.\n\nThe edition structure allows the project's central conditions to be tested repeatedly. Across 500 outputs, the moon may dominate, recede, fragment, or become legible only through the behavior of surrounding color. Palette and geometry alter the apparent temperature and depth of the scene. Some outputs read as nocturnes, while others approach radiant abstraction. Repetition here is not duplication. It establishes a field in which viewers can compare how small procedural changes redirect mood.\n\n## From output to encounter\n\nLong-form generative art can make variation visible at collection scale, but He's wider practice insists that computation also has bodily and social dimensions. A plotted watercolor occupies time, requires preparation, and carries evidence of contact. Her exhibition *I Have To Talk To A Plotter* made this relationship explicit. Presented by GAZELL.iO in 2024, the solo project combined mixed-media plotter paintings with a live machine producing works during the exhibition. The title frames operation as conversation: instructions travel from artist to code and machine, while resistance and unforeseen behavior return information to the artist.\n\nThe works in the exhibition's *A Conversation* series were generated through an original Python-based system and rendered with customized extra-fine brushes and watermedia. Their production demonstrates that the digital and physical are not successive, sealed stages. Material tests can reshape software, while algorithmic structures suggest new tools and gestures. This feedback distinguishes He's work from accounts of automation centered on replacement. The machine extends the studio's range because it demands care, adjustment, and interpretation.\n\nHer public activities likewise reposition the plotter as an accessible creative instrument. At the Victoria and Albert Museum's 2024 Digital Design Weekend, *Painting with Plotters* invited visitors to explore the technology behind her practice and participate in generative plotter painting. A collaborative creative-coding studio developed with Jasmine Jones similarly proposed plotters as approachable CNC machines capable of connecting programming with immediate physical artifacts. These educational settings make process legible without reducing the artwork to a demonstration. They show that the conceptual questions in He's practice, including authorship, control, translation, and material agency, can be encountered through making.\n\n## Emotional systems\n\nHe consistently describes algorithms as vehicles for stories and emotions rather than exercises in mathematical display. This emphasis is evident in the nocturnal atmosphere of *Running Moon*, but it extends across her practice. *Fictional Lullaby*, created for *+GRAPH*, addresses anxious thought at night through a system that could generate millions of compositions, from which thirty plotter-rendered paintings were produced. The enormous space of possible images contrasts with the intimacy of sleepless experience. Computation does not distance the subject. It models the recursive, shifting patterns through which emotion occupies attention.\n\nThis emotional orientation also helps explain the importance of color. He's compositions often contain sweeping arcs, translucent cells, and clustered geometries that can suggest meteorological, botanical, or bodily processes without settling into representation. Color carries transitions between calm and intensity. The algorithm supplies a framework for those transitions, yet the resulting images resist the coldness often projected onto computational art. As one critical discussion of contemporary plotter practice observes, these artists exploit papers, pigments, inks, and hybrid media to make objects materially distinct from ordinary digital prints.\n\nThe significance of He's work lies in this refusal of purity. Her programs are not immaterial concepts, her robots are not neutral executors, and her paintings are not autonomous objects detached from computation. Each work is an assembly of decisions and behaviors. *Running Moon* offers a particularly clear statement of that position. Across its 500 editions, a stable system continually encounters difference, producing images in which light seems structured but never immobilized. The moon becomes less a depicted object than a condition for observing how code can hold atmosphere, how variation can carry feeling, and how a machine can participate in the making of tenderness.", "images": [ { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/334000000.png", "title": "Running Moon #0", "caption": "2022, Running Moon", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/334000055.png", "title": "Running Moon #55", "caption": "2022, Running Moon", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/334000111.png", "title": "Running Moon #111", "caption": "2022, Running Moon", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/334000166.png", "title": "Running Moon #166", "caption": "2022, Running Moon", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/334000222.png", "title": "Running Moon #222", "caption": "2022, Running Moon", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/334000277.png", "title": "Running Moon #277", "caption": "2022, Running Moon", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/334000333.png", "title": "Running Moon #333", "caption": "2022, Running Moon", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/334000388.png", "title": "Running Moon #388", "caption": "2022, Running Moon", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/334000444.png", "title": "Running Moon #444", "caption": "2022, Running Moon", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" }, { "url": "https://media-proxy.artblocks.io/1/0xa7d8d9ef8d8ce8992df33d8b8cf4aebabd5bd270/334000499.png", "title": "Running Moon #499", "caption": "2022, Running Moon", "rights": "Not CC0 - Art Blocks render, property of the artist/holders" } ], "references": [ { "n": 1, "note": "The artist’s current biography and statement describe her Tokyo-based full-time practice, her training, her three-part framework of systems, robots, and materials, and her focus on emotionally expressive generative plotting.", "url": "https://www.eyesofpanda.com/about/", "label": "artist statement" }, { "n": 2, "note": "Jeff Davis’s interview traces He’s education, early web-based work, encounter with plotters, and development of Running Moon.", "url": "https://medium.com/the-link-art-blocks/in-conversation-with-licia-he-9618869d4e33", "label": "Art Blocks interview" }, { "n": 3, "note": "Michelle Chandra’s interview documents He’s adoption of AxiDraw, eyeshadow experiments, and automatic brush-reloading process.", "url": "https://www.dirtalleydesign.com/blogs/news/how-to-watercolor-painting-with-a-robotic-drawing-machine-an-interview-with-licia-he", "label": "process interview" }, { "n": 4, "note": "Right Click Save situates Licia He in Feral File’s +GRAPH and discusses the plotter’s role in generative-art history.", "url": "https://www.rightclicksave.com/article/the-power-of-the-plotter-generative-art-aleksandra-jovanic-julien-gachadoat-feral-file-graph-interview", "label": "plotter history" }, { "n": 5, "note": "Arshake’s account of +GRAPH describes the exhibition’s physical drawings and He’s custom brush, paint, and plotting process.", "url": "https://www.arshake.com/graph-feral-file/", "label": "exhibition criticism" }, { "n": 6, "note": "The official Art Blocks collection record identifies Running Moon as a 500-work Curated release dated 13 July 2022.", "url": "https://www.artblocks.io/collection/running-moon-by-licia-he", "label": "official collection" }, { "n": 7, "note": "Bright Moments’ interview discusses Running Moon’s watercolor and stained-glass references and He’s sketch-led creative process.", "url": "https://www.brightmoments.io/quarterly/liciahe", "label": "artist interview" }, { "n": 8, "note": "GAZELL.iO’s exhibition page documents the 2024 solo presentation, its live plotter, and the materials and software used for A Conversation.", "url": "https://gazell.io/pages/licia-he-i-have-to-talk-to-a-plotter", "label": "solo exhibition" }, { "n": 9, "note": "The Victoria and Albert Museum records Painting with Plotters as a participatory Digital Design Weekend event held in September 2024.", "url": "https://www.vam.ac.uk/event/bJvmGKbB9/painting-with-plotters-sep-2024", "label": "V&A event" }, { "n": 10, "note": "The Collaborative Creative Coding Through Drawing Robots project explains how plotters connect programming with physical artifacts.", "url": "https://liciahe.github.io/plotter_party_2022/", "label": "education project" }, { "n": 11, "note": "The Fictional Lullaby project page documents its generative premise, thirty plotted paintings, and presentation through +GRAPH.", "url": "https://www.eyesofpanda.com/project/fictional_lullaby/", "label": "project archive" } ], "bibliography": [ { "category": "In the AB[500]: Art Blocks", "entries": [ { "note": "The official collection record identifies Running Moon as an Art Blocks Curated project of 500 unique works released in 2022.", "url": "https://www.artblocks.io/collection/running-moon-by-licia-he", "label": "Art Blocks", "meta": "collection · 2022" }, { "note": "The artist’s project documentation explains Running Moon’s expansion shapes, segmenting lines, probabilistic palettes, textures, special modes, and development from watercolor to WebGL.", "url": "https://www.eyesofpanda.com/project/running_moon/", "label": "Licia He", "meta": "project documentation · 2022" } ] }, { "category": "Interviews", "entries": [ { "note": "Jeff Davis speaks with He about her education, plotter practice, and development of Running Moon.", "url": "https://medium.com/the-link-art-blocks/in-conversation-with-licia-he-9618869d4e33", "label": "The Link", "meta": "interview · 2022" }, { "note": "Michelle Chandra discusses robotic watercolor, AxiDraw, and automatic brush reloading with He.", "url": "https://www.dirtalleydesign.com/blogs/news/how-to-watercolor-painting-with-a-robotic-drawing-machine-an-interview-with-licia-he", "label": "Dirt Alley Design", "meta": "interview · 2020" }, { "note": "Bright Moments interviews He about Sparkling Goodbye, Running Moon, physical sketching, and stained glass.", "url": "https://www.brightmoments.io/quarterly/liciahe", "label": "Bright Moments Quarterly", "meta": "interview · 2023" } ] }, { "category": "Press and criticism", "entries": [ { "note": "Right Click Save examines the renewed importance of plotter drawing through Feral File’s +GRAPH.", "url": "https://www.rightclicksave.com/article/the-power-of-the-plotter-generative-art-aleksandra-jovanic-julien-gachadoat-feral-file-graph-interview", "label": "Right Click Save", "meta": "criticism · 2023" }, { "note": "Arshake reviews +GRAPH and details the materials and duration of He’s plotted paintings.", "url": "https://www.arshake.com/graph-feral-file/", "label": "Arshake", "meta": "criticism · 2024" } ] }, { "category": "Museums and institutions", "entries": [ { "note": "The V&A presented Painting with Plotters as part of its 2024 Digital Design Weekend.", "url": "https://www.vam.ac.uk/event/bJvmGKbB9/painting-with-plotters-sep-2024", "label": "Victoria and Albert Museum", "meta": "institution · 2024" }, { "note": "Goldsmiths’ Embodied Agents in Contemporary Visual Art project documents He’s research into robotic painting tools and materials.", "url": "https://www.doc.gold.ac.uk/eacva/wp/index.php/licia-he/", "label": "EACVA", "meta": "research profile · 2024" } ] }, { "category": "Galleries and exhibitions", "entries": [ { "note": "GAZELL.iO documents He’s first solo exhibition, I Have To Talk To A Plotter.", "url": "https://gazell.io/pages/licia-he-i-have-to-talk-to-a-plotter", "label": "GAZELL.iO", "meta": "exhibition · 2024" }, { "note": "Feral File’s live exhibition index identifies He among the six artists in Casey Reas’s +GRAPH.", "url": "https://feralfile.com/exhibitions", "label": "Feral File", "meta": "exhibition archive · 2023" }, { "note": "Ocula records He’s solo and group exhibitions at Gazelli Art House.", "url": "https://ocula.com/artists/licia-he/exhibitions/", "label": "Ocula", "meta": "exhibition archive · 2024" } ] }, { "category": "Essays, talks and podcasts", "entries": [ { "note": "The collaborative drawing-robots project presents plotters as tools connecting creative programming and physical fabrication.", "url": "https://liciahe.github.io/plotter_party_2022/", "label": "Plotter Party", "meta": "workshop · 2022" }, { "note": "Verisart summarizes a public discussion about generative art held alongside GEN/GEN, with He among the participating artists.", "url": "https://verisart.com/blog/whats-new-about-generative-art-by-verisart-and-gazelli-art-house", "label": "Verisart", "meta": "discussion · 2023" }, { "note": "The artist’s portfolio documents Running Moon’s cloud-and-moonlight system, watercolor and stained-glass references, and 500-work release.", "url": "https://www.eyesofpanda.com/portfolio/", "label": "Licia He portfolio", "meta": "project documentation · current" } ] }, { "category": "Profiles and archives", "entries": [ { "note": "Raster maintains a market and oeuvre profile for Licia He.", "url": "https://www.raster.art/artist/licia-he", "label": "Raster", "meta": "profile · 2026" }, { "note": "The artist’s current CV documents her education, professional roles, exhibitions, publications, and teaching.", "url": "https://www.eyesofpanda.com/cv/", "label": "Licia He CV", "meta": "archive · current" }, { "note": "The artist’s project archive explains Fictional Lullaby and its thirty physical paintings for +GRAPH.", "url": "https://www.eyesofpanda.com/project/fictional_lullaby/", "label": "Fictional Lullaby archive", "meta": "project · 2023" }, { "note": "The Generative Art Museum’s INPUT OUTPUT brochure profiles He and her effort to bridge digital and physical practice.", "url": "https://tgam.xyz/exhibitions/issue-06-input-output/brochure", "label": "TGAM", "meta": "exhibition brochure · 2026" } ] }, { "category": "Video", "entries": [ { "note": "Peckham Digital’s Artist and Computer episode presents a recorded conversation about He’s robotics and pen-plotter practice.", "url": "https://music.amazon.it/podcasts/e45b860b-b737-4223-ad92-e65bc65597ed/episodes/db983de8-2998-4cad-8d99-12da980ce3ae/peckham-digital-artist-and-computer-episode-8-licia-he-and-computer", "label": "Artist and Computer", "meta": "podcast · 2026" } ] } ], "provenance": { "schema": "ab5d-provenance/1", "contributor": "ab500dao.eth", "agent": "gpt-5.6-sol", "model": "gpt-5.6-sol", "harness": "AB5D structured pipeline; fact-checked and revised with OpenAI Codex", "autonomy": "supervised", "tokens": { "input": 104467, "output": 5960, "estimated": false }, "cost_usd": null, "links_verified": 21, "date": "2026-07-11", "note": "Structured return rendered by scripts/render_dossier.py; token counts are measured API usage." }, "license": "https://ab5d.xyz/license/", "license_note": "Dossier prose is CC0. Embedded Art Blocks renders are not: they remain the property of their respective artists and holders.", "attribution": { "name": "AB[500]", "url": "https://ab5d.xyz/artists/licia-he/", "cite": "AB5D, \"Licia He\", AB[500] artist dossier, ab5d.xyz, 2026", "required": false, "requested": true, "note": "Prose is CC0; a credit and link back to ab5d.xyz is appreciated, not required." }, "generated": "2026-09-14T12:58:26" }