Erin Wajufos

Artist

Erin Wajufos · netnetnetgenproject.netlify.app ↗

Raster

raster.art/artist/erin-wajufos ↗

Practice

Generative art, audiovisual performance, post-production, animation, and creative-technology programming

Now

Community manager at Creative Code Art and co-director of &FRIENDS

In the set

Net Net Net ↗ · 33 editions

Links

Full bibliography ↗

Erin Wajufos works across image-making, event production, and the social structures that allow digital art to circulate. Her professional practice encompasses editing, animation, coloring, new media, and curation, while her work with Creative Code Art places community organization alongside technical production.¹ This combination is central to understanding Wajufos: code is not treated solely as a medium for autonomous objects, but as a means of convening artists, audiences, and forms of shared attention.

Her public record includes audiovisual performance, instruction in Max/MSP, and the organization of creative-coding events. A 2025 workshop presented by Bogotá Experimental described her as an artist and organizer with more than five years of experience producing art-and-code events, as well as a VJ whose visuals have accompanied internationally recognized electronic musicians.² The profile connects technical instruction, live performance, and collective stewardship within one practice.

Remembering the early network

Wajufos entered Art Blocks through Net Net Net, a collaboration with ilithya. The project consists of exactly 33 editions. Its visual language draws upon net art, glitch aesthetics, early graphical interfaces, and the imperfect capabilities of older computer graphics. Rather than presenting digital space as frictionless, the series builds architectural collages from collisions between geometric disorder and repeated, regulating patterns.

The title's repetition suggests both connectivity and interruption. Across the series, windows, grids, blocks, and patterned surfaces accumulate as if several interface histories had been compressed into a single screen. Each output balances systematic kinship with visible difference. Marketplace documentation records the collection as a 33-item Art Blocks project associated with the collaborators.³ The project is therefore both an editioned generative system and an act of media remembrance, translating the uncertain atmosphere of the early internet into deterministic variation.

Live on Art Blocks: net-net-net-by-ilithya-x-erin-wajufos ↗

From outputs to situations

Wajufos's wider activity gives the collection a social context. The 2021 Creative Code Festival, co-directed by Wajufos and IX Shells, received a Silver Telly Award in the virtual events and experiences category.⁴ That recognition concerns an event rather than an individual artwork, underscoring how her practice extends from screen composition to the design of cultural situations.

This orientation continues through &FRIENDS, an audiovisual series joining performance, artist talks, sound, visuals, and creative technology. A November 2024 edition listed Wajufos as promoter and performer, with her visuals accompanying Sara Wentworth during an all-women program.⁵ Here, authorship becomes distributed: the artist may organize the framework, contribute live images, and support other practitioners within the same event.

The relationship between Net Net Net and this collective work is not merely thematic. Both depend on systems that generate difference without sacrificing connection. In the Art Blocks project, rules coordinate 33 distinct outputs. In Wajufos's curatorial practice, programming and production coordinate different artists, media, and publics. Her work consequently proposes the network as both image and method.

That emphasis remains visible in later public programming. The Montevideo Fulldome Festival scheduled Wajufos to deliver a 2026 talk titled “Building Spaces Where Everyone Belongs: Behind the Scenes of Creative Code Art,” framing community formation as a subject worthy of explicit technical and cultural reflection.⁶ Across generative editions, VJ sets, workshops, and event direction, Wajufos treats digital practice as an infrastructure for participation.

Bibliography

The references cited in this essay are listed below. For the complete bibliography see the Erin Wajufos links page ↗.