Through this recursive process, the image dissolves into undulating forms, abstracting further with each pass until the original reference becomes almost entirely unrecognizable. The result is a hypnotic, self-consuming composition that explores the tension between repetition, erosion, and digital regeneration.
Originally developed in 2012 during a residency in Rotterdam, Compression Chamber marked an early experiment in procedural decay and feedback aesthetics. The project evolved further as part of an installation at the Hybrid Art Fair, where the video’s processual logic became a central element in a broader meditation on the instability of digital media.
Compression Chamber interrogates the limits of compression—not just as a technical process, but as a conceptual strategy. What happens when an image consumes itself? Where is the line between preservation and distortion, memory and mutation? In an age defined by endless replication, Compression Chamber stages an elegant collapse.