FAD magazine

“My practice explores our jagged human relationship to the technologies we interact with and which influence our lives. I think the fetishisation of technology is a massive trend in our culture. Using the failures of technology as part of my art is a way to break down these systems. The glitches that occur in the art production process are magnified and repeated. I take these glitched forms and connect them up to live data feeds, so they act as living artworks, disrupted reflections of the systems they’re dependent on.”
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Expanded Art

“ Dynamic art has a unique ability to vividly reflect the experience of living in an ever-changing digital data landscape, which is a context most of us inhabit in our day-to-day lives. The fact is that we are not in control of the media and financial networks we are connected to and reliant upon. These huge, moving databases that our own lives are also ingested into are both beautiful and frightening.”
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Red Lion magazine

‘What’s striking about these works is that the results of cold, mathematical glitching can yield soft, warm art. Many BURNERs appear to have horizontal brush strokes of ruddy oil paint. Since the work is dynamic, one gets the idea of a amorphous gas cloud that is never at rest. At the same time, the works look nothing like the original cloud images that were glitched to create the BURNER series. Thus, crashblossom has taken the organic, obliterated it, and yielded something digitally organic. It’s a fascinating contradiction.’
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An essay on Burner

‘Using a metaphor between physical and digital resources, each layer is drawn from a manipulated two-dimensional image of physical gas extruded in a three-dimensional digital space, worked in different ways to render them unrecognizable to a point of inflection. This visual material is the base of a language meant to express the previously impassable chasm that is the whole of every participant’s intentions on Ethereum’s decentralized network.’
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FOMA Magazine September 2022