makio135

Artist

makio135 · makio135.com/horo ↗

Based

France

Practice

Generative art, creative coding, interactive installation, digital fabrication, and teaching

Now

Maintains an extensive public archive of generative experiments and technical studies on Observable.

In the set

Hōrō ↗ · 400 editions

Links

Full bibliography ↗

Makio135 is the artist name of Lionel Radisson, a French designer, maker, teacher, and creative coder. His practice developed well before the market expansion of blockchain art: a 2017 festival catalogue records his 2011 graduation from the É.S.A.D. Saint-Étienne and describes Making Noise, an interactive installation based on Perlin noise.¹ A later exhibition biography places him at the intersection of objects, graphics, and digital media, while noting his role in founding Processing Lyon workshops.²

This history matters because makio135 approaches generative art as a durable studio method rather than a single distribution format. His Observable archive identifies him as a generative artist and contains more than 160 public notebooks spanning SVG generation, recursive grids, noise, looping animation, ray marching, plotting, and color studies.³ The archive makes experimentation visible as both process and pedagogy.

Wandering as a visual system

Hōrō translates the experience of moving through a city into an abstract field. The project description begins with crowds, architecture, lights, stickers, and the traces left by people in urban space. It frames the work as an invitation to suspend time and contemplate intersecting flows, connecting architectural order with unpredictable pedestrian motion.⁴

Released in 2022, Hōrō comprises exactly 400 editions.⁴ Each output negotiates between structure and improvisation: rectilinear zones establish a spatial armature, while bands, strokes, and clustered marks produce congestion, velocity, and interruption. The system includes 55 palettes inspired by graffiti artists and urban calligraphers, making color a record of passage rather than surface decoration.⁴

The project names Jackson Pollock, Anni Albers, Hassan Massoudi, and Piet Mondrian among its reference points.⁴ Those associations clarify its visual argument. Grid and gesture are not treated as opposites. They are interdependent forces, comparable to the planned street and the unscripted movement it contains.

Live on Art Blocks: horo-by-makio135 ↗

Teaching, tools, and public practice

Makio135's work circulates through instruction as well as editions. Stereolux programmed a workshop with Radisson on generative graphics and motion design using p5.js and Observable.⁵ In 2023, the institution also collaborated with him on a two-day generative-art event combining discussion, experimentation, and live coding.⁶ These activities position code as a shared cultural technique, open to examination and reuse.

His practice has also moved between screen-based work and exhibition space. La Conciergerie's Algorithmes presented an interactive work by Radisson alongside installations, drawings, video, shaders, cellular automata, and plotter-based production.² The Mirage Festival catalogue similarly describes Making Noise as a responsive graphic environment in which algorithms simulate natural-seeming randomness.¹

The 2022 Mastermind interview supplies a biographical turning point: Radisson discusses his route into NFTs and the transition to working as a full-time generative artist.⁷ A market review from the same period located Hōrō within the broader Art Blocks Factory field, while also noting makio135's activity on fxhash.⁸ Yet his continuing experiments resist confinement to a single platform. A later collaborative project, Shapes, used custom smart contracts and multiple generators so collectors could mutate and regenerate works.⁹

This interest in participation also informed a collaboration involving Iconic Moments and the Universal Hip Hop Museum. Contemporary coverage described a generative collection inspired by graffiti and street art, extending makio135's engagement with urban mark-making into an institutional partnership.¹⁰ Across these contexts, his central concern remains consistent: a generative system is not merely an image-producing mechanism. It is a structured invitation to explore variation, discover visual incidents, and reconsider how order accommodates movement.

Hōrō turns wandering into a compositional principle, allowing architecture, gesture, and color to remain in productive tension.

Bibliography

The references cited in this essay are listed below. For the complete bibliography see the makio135 links page ↗.