Tyler Hobbs: links

Tyler Hobbs's official site brings together his artworks, writing, exhibitions, and biography.

The official biography traces Hobbs's move from painting and computer science into algorithmic art.

The official works index surveys digital, plotted, and hand-finished bodies of work.

The artist's writing archive collects essays, project notes, conversations, and lectures on generative art.

The official Fidenza work page presents the 2021 long-form algorithm and selected outputs.

Hobbs's original technical essay explains Fidenza's flow fields, scales, collision checking, shapes, margins, and palettes.

The official Incomplete Control page frames its analogue marks and deliberate imperfection as a counterweight to computational precision.

The artist's exhibition record documents the four-day live creation and release of all 100 Incomplete Control works in New York.

Hobbs introduces Fidenza as his most versatile algorithm and a study in structured curves with unexpected scale and texture.

Hobbs describes Incomplete Control as an exploration of imperfection, entropy, and the tension between analogue and computational work.

Hobbs defines long-form generative art through large public output spaces without artist curation of the final selection.

An essay argues that programming is a defining material of the present century and therefore a consequential artistic medium.

A technical primer explains the directional grids called flow fields and shows how they organise movement across a composition.

Hobbs details several programmatic strategies for distributing and arranging colour in generated compositions.

A process essay separates randomness in composition from arbitrary decision-making and explains how constraints preserve intention.

Hobbs explains random-number-generator seeds as reproducible origins for deterministic generative outputs.

A studio note describes methods for building soft, tactile textures with computational marks.

Hobbs argues that visual force must remain central when technical novelty and conceptual explanation dominate discussion of generative art.

This studio conversation for Unit London connects Hobbs's software methods to drawing, painting, plotting, and physical finishing.

The artist archives a two-part interview on his background, methods, the blockchain, and the emergence of Fidenza.

Hobbs's archive records a Christie's discussion of generative art, NFTs, and Fidenza's position in his practice.

Hobbs's archive presents his LACMA conversation with Casey Reas about code, systems, and generative art history.

An essay follows sketching through the development, testing, and abandonment of artistic ideas.

Hobbs examines rule-based and systematic precedents for art made through repeatable procedures.

A five-year reflection describes the practical and aesthetic lessons Hobbs drew from making art through programming.

Hobbs considers what code contributes to artistic thinking beyond speed, automation, or visual effect.

Art Blocks' artist profile gathers Hobbs's biography, two AB[500] releases, editorial features, and recognition.

Fidenza, 999 editions, uses a flow-field system to generate layered curves, varied scales, textures, and fourteen palettes.

Incomplete Control, 100 editions, studies analogue mark-making, imperfection, and disorder within a generative system.

Jeff Davis interviews Hobbs on painting, computer science, Processing, flow fields, and the design of Fidenza.

Cozomo de' Medici discusses the experience of collecting and interpreting Fidenza across its output space.

Episode 31 of After Dinner Mints records Hobbs and Art Blocks founder Erick Calderon discussing Fidenza after release.

LACMA's Art + Technology Lab conversation covers Fidenza, 999-output long form, flow fields, QQL, and the relation between physical and digital work.

A second LACMA interview accompanies the museum's acquisition of Connected for the Moment 1 and Discrete Affection #3.

The Toledo Museum of Art's collection record for Fidenza #314 places the token within its computational art holdings.

The Toledo Museum of Art's collection record for Fidenza #871 documents a second output held by the museum.

Unit London represents Hobbs and maintains an artist page with biography, works, exhibitions, and publications.

Mechanical Hand brought Hobbs's plotted, painted, and hand-finished works to Unit London in 2023.

Unit London's curriculum vitae records Hobbs's exhibitions, collections, talks, and publications.

Pace Gallery's online exhibition for QQL: Parametric Expression presents the collaborative project by Hobbs and Dandelion Mané.

From Noise at SOLOS in London placed Hobbs's plotted work in dialogue with generative and computational abstraction.

Bright Moments preserves the contract-level collection record for the live New York release of Incomplete Control.

Part one of Right Click Save's interview covers Hobbs's artistic formation, abstraction, systems, and early digital practice.

Part two turns to blockchain distribution, long form, collecting, and the cultural implications of generative art.

Christie's speaks with Hobbs about Fidenza, generative art, the 99-percent quality standard, and the challenge of long-form output spaces.

OpenSea's conversation ranges across Hobbs's background, creative coding, Fidenza, and the balance between control and surprise.

Kevin Rose interviews Hobbs for PROOF on designing generative art with the visual weight and touch of traditional media.

Art the Science profiles Hobbs's creative code, pen plotting, and interest in the interplay of order and disorder.

VoyageDallas interviews Hobbs about leaving software engineering, building an independent art practice, and working with algorithms.

Curated's collector guide examines Fidenza's formal traits, palettes, rarity, and place within Art Blocks.

Forbes reviews Hobbs's London and New York exhibitions through the relationship between human gesture and machine procedure.

Austin Monthly profiles Hobbs's path from software engineering to the intense reception of Fidenza.

Artnet News reviews Mechanical Hand and Hobbs's effort to carry algorithmic structures into physical media.

ARTnews situates Fidenza and Art Blocks within the surge of algorithm-generated NFTs in 2021.

ARTnews reports on renewed institutional attention to computer plotting, including Hobbs's physical generative practice.

Artforum reviews Toledo Museum of Art's Infinite Images, a survey of algorithmic art that included Hobbs.

Crysalis traces generative art history from early computer plotters to contemporary long-form practitioners including Hobbs.

Crysalis examines the shift from artist-selected short-form outputs to large public long-form collections.

Decrypt explains Art Blocks' rise through projects including Fidenza and the platform's transaction-time generation model.

Decential profiles Hobbs's use of controlled randomness and the reception of Fidenza.

Sotheby's catalogue for the Grails collection groups five Fidenza lots and records their auction results.

Sotheby's places Fidenza within a history of generative art and records the sale of token #725.

Sotheby's 2024 Digital Art Day catalogue documents the offering of Fidenza #526.

Sotheby's discussion of artist royalties uses Hobbs and Art Blocks to examine compensation in digital secondary markets.

Hans Ulrich Obrist speaks with Hobbs at Unit London about generative process, drawing, and the relation between code and the hand.

LACMA and Unit London bring Hobbs and Casey Reas together to discuss generative art, software, and institutional collecting.

Art Blocks' After Dinner Mints episode 31 records a release-era conversation with Hobbs and Erick Calderon.

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