The Barcelona based artist Max De Esteban’ project Binary Code can be seen as a return to some of the similar concerns that the Precisionists artists engaged with at the beginning of the 20^th century: how does architecture become a symbol for a new age and how do you visualize technological change?

Binary Code is an assemblage of different images that have had previous life in other media that have been ‘harvested’ by the artist to be processed in the computer. The resulting multi-image panoramic work can be seen as a play between the will of the artist and the agency of the computer’s software based on the mathematics of the binary number system used in digital electronic circuitry. You could call this the domestication or the digitization of the human imagination and the realization of ‘machine gesture’ instead of the human gesture.

The industrial silo becomes the dominant and recurring motif within the work, with the added element of human figures floating around within the same picture space. All are in a state of flux suggesting that the artist is involved in some form of experimentation in the fermentation of image bacteria and we have entered a non-binary world were the fluidity between the human and the non-human has become the norm. This is a flat world that you might see looking down onto a Petri dish were green pigment, buildings, rag paper, trees, brush strokes, human bodies and halftone dots all have equal status.