Worm(W)Holes

The black hole is not far afield from how some might regard AI – a data-scraping absorber and regurgitative model of pseudo-creation. A parasite. Enter the white hole: a font, a wellspring, ‘a way out of the black hole and back into the universe’ (Carlo Rovelli, 2024). Our Wormhole artists, in pushing AI to extremes, are striving to find the white-hole potential of this technology. Their work prioritises patterns, rhythm, coherence and de-coherence. There’s something of the quantum, the ethereal, in their approaches; and perhaps, even amongst the obvious ‘enshittification’, there are glimpses of a beautiful new world.


Beautiful the Chewed Sounds is a meditation on the meeting of analogue and artificial worlds, speaking through layers of image, word and sound. A six-minute looped video, collages and texts activate one another – sparking open, rhizomatic chains of connection. The work mixes references to nature, bodies, and machines until they begin to blur together, making it difficult to tell where one thing ends and another begins.

Maria Ahmed, 2025, audio-visual and digital download



Inspired by Degas’ obsession inscribed in the creation of Dancers Practising in the Foyer (1870–1900), framed by two AI paratexts, Tracing the Hollow shows presence and absence through three digital stages of a moth: its natural form, a Hough-lines translation, and a Delaunay triangulation.

Kasper Bergholt, 2025, photography


ghosting myself withholds the image, showing what lies beneath. Absence acts as generative ground where glitch powers the surface. In a noise-filled hole, a spectral diary turns the image inside out, choreographing the small weather of feelings, and whispers: I wrote a poem. Can I read it to you?

Evangelia Danadaki, 2025, moving image (single-channel video), 3.19 mins



BHAM💥 – The Black Hole Aesthetic Machine – is an imaginary product and service designed to help humans come to terms with their impending obsolescence. It processes whatever temporary configurations (human, machine, theistic entity) engage with it and has no interest in the entity’s interpretation – be that honest recommendation, dark humour, or outright insult.

Sarah-Jane Field, 2025, website


Human-ware reimagines binary code as a libidinal DNA, where 0s and 1s generate hybrid digital bodies. Through a browser dress-up game, players remix code and flesh, revealing desire as computational syntax. Sexuality and identity emerge from data’s fluid logic, questioning eroticism when bodies become mutable, machine-generated architectures.

Angel Qin, 2025, digital game