Each of my prints begins as a pattern generated through code, brought to life by an XY plotter wielding gelly roll pens and metallic markers. This process is iterative—code evolves, plots are reworked, and compositions emerge through cycles of refinement. What begins as structured patterning unravels into something more unpredictable, gesturing toward a speculative sci-fi architecture that exists between control and chaos.
This body of work is a collaboration with my tools—the generative code, the plotter, and my own interventions—as they converge in a process where precision meets disruption. I actively invite errors by manipulating the code, introducing intentional misoperations, and embracing the unpredictable behaviors of the plotter. These glitches, rather than being failures, are fertile ground for new meanings and interpretations.
Through the lens of Glitch Feminism (see Glitch Feminism by Legacy Russell), these so-called “errors” become generative ruptures—interruptions that expose the rigid structures we often take for granted. A glitch is not a malfunction; it is a necessary disruption, a recalibration of a system already fractured by economic, racial, social, and cultural inequalities. Glitches refuse the binaries of function and failure, just as they refuse the binaries of gender, identity, and normativity. In this way, a glitch is not just an accident but a form of resistance, a shift away from the constraints of the machine and toward something more fluid, expansive, and alive.
The title Fatherless Creatures and Motherless Features draws from St. Vincent’s song Huey Newton, a piece rich with references to glitch, disruption, and binary collapse. Like the song, this work resists rigid structures and embraces the generative potential of breakdown, pointing toward an existence that is unbound, nonlinear, and perpetually in flux.