List of Works
Embedded Files
Definition of Done (2025)
Definition of Done (2025)
2025
Series of Computer Programs (Processing)
Shown in:
Definition of Done, Modeka, Manila, Philippines (2025)
"Definition of Done" talks about the iterative nature of the artistic process, where completion or "done-ness" is not a fixed point but a decision defined by the artist. The works in the exhibit explore the parallels between creative workflows and structured methodologies like those in software development. Viewing artistic creation as an evolving, iterative process where the endpoint is fluid and subjective.
"Definition of Done" is a series of moving images created through code written using Processing, a creative coding platform. Each work is derived from the series of drawings as base images (see Background) reimagined as dynamic images that continuously evolve over time. The moving images reflect the idea that work is never fully complete, but rather continues to grow and transform as long as the artist decides to engage with it. However, it also completes certain milestones for each frame generated. Thus leaving the artwork in a constant state of both complete and incomplete.
sketch_240420a_final.pde
2025
Computer Programming (Processing)
sketch_241117b_final.pde
2025
Computer Programming (Processing)
sketch_240319b_final.pde
2025
Computer Programming (Processing)
sketch_240822a_final.pde
2025
Computer Programming (Processing)
Collective Experiences 3.0 - Escolta Edition (2025)
Collective Experiences 3.0 - Escolta Edition (2025)
2025
Computer Program (Processing)
Shown in:
30 Lives, Museum of Contemporary Art and Design (MCAD), Manila, Philippines (2024)
Collective Experience V3.0 (Escolta Edition) is the third iteration of an ongoing project that explores how digital traces left on social media shape our shared memory of place. Using creative coding, I gather publicly posted images tagged with “escolta” — alongside a few photos from my own archive—into a generative into a moving collage that reflects fragments of how people see and remember the area. This evolving piece reflects on how social media platforms like Instagram and X become both archive and mirror of our collective experience and documentation of Escolta.
Conditionals v2 (2024)
Conditionals v2 (2024)
2024
Computer Program (Processing)
Shown in:
30 Lives, Museum of Contemporary Art and Design (MCAD), Manila, Philippines (2024)
"Conditionals v2" is an exploration of dynamic digital landscapes through creative coding in Processing. Agents navigate this realm governed by fluctuating rules—altering barriers, movement speed, and appearance at set intervals. As these directives evolve, emergent behaviors arise, transforming their initial programming. This living ecosystem exemplifies the interplay between structured rules and unpredictable outcomes, inviting reflection on the balance between control and emergence. The piece showcases the mesmerizing dance between order and chaos within a fluid, ever-transforming landscape. Additionally, viewers are invited to interact with the work via a website, granting them control over the rules that govern this digital realm, allowing for an immersive exploration of the shifting dynamics and emergent behaviors within the artwork.
Renditions of Childhood (2024)
Renditions of Childhood (2024)
2024
Computer Program (Processing)
Shown in:
30 Lives, Museum of Contemporary Art and Design (MCAD), Manila, Philippines (2024)
"Renditions of Childhood" aims to transform familiar childhood games like Rock, Paper, Scissors and Hide and Seek into dynamic visual narratives. Through coding and design, the artist takes apart the fundamental rules of each game, presenting them in abstract digital formats. This approach invites viewers to engage with the essence of childhood play in an immersive manner, inviting reflection on the reinterpretation of these cherished games through a different visual context.
sketch_230514a_mi (2023)
sketch_230514a_mi (2023)
2023
Computer Program (Processing)
Shown in:
Live Take Feed Console Play, MO Space, Manila, Philippines (2023)
Collective Experiences 2.0 (2021)
Collective Experiences 2.0 (2021)
2021
Computer Program (Processing) - Video Excerpt
Shown in:
Di/Visible Re/Public, M+ Museum, Hong Kong (2022)
Gawad Alternatibo: Alpas, Online Exhibit (2021)
Collective Experiences 2.0 is a video recording of a software created by the artist that captures data from a social media feed. The feed starts off with one image and continues to multiply as the program runs. The algorithm starts taking pieces of each image and stitches them together essentially creating a new image for each frame. The images also start to move, distort and dissolve as the program progresses. Towards the end of the piece the images start disappearing one at a time, but the remnants of these images remain as moving pixels that eventually turn into noise.
The piece speaks about the multilayered experiences that happen as we both produce and consume images and information on a digital shared space. As we spend our time scrolling, there’s a constant movement and a constant refresh that happens at a rapid pace, wherein viewers are no longer able to decipher each individual image but a fragmented tapestry of the collection.
Collective Experience (2020)
Collective Experience (2020)
2020
Computer Program (Processing)
Shown in:
Oxymorons, Limbo Gallery, Art Fair Philippines, Manila, Philippines (2020)
Collective Experience speaks about how we experience art and images in a world where there's an abundance of it. In the work, a computer program reads through a group of images posted on social media (tagged as “#artfairph”) and treats it as a collective database of images and experiences. The software then tries to constantly create an image from this database. Choosing fragments from each image and piecing it together with other images, constantly trying to process this information. This results in an image that's constantly changing and shifting as new images come into process, never really forming a clear and coherent image.
Generator (2019)
Generator (2019)
2019
Computer Program (Processing)
Shown in:
FROM NOW, Kondwi, Manila, Philippines (2019)
Generator is a product of experimentation and evaluation of how I create work. It is the visual output of computer code that gathers bits of pixels my archived work and stitching them together to create a new image derived from these pixels. This produced image is then quickly replaced by a new image using the same process, and then starts to disintegrate in the background. The code runs indefinitely, constantly churning out new images.
Conditionals (2019)
Conditionals (2019)
2019
Computer Program (Processing)
Shown in:
City of Bawal, 1335 Mabini, Manila, Philippines (2019)
The program draws 200 agents moving on a digital plane governed by rules (agents can't grow more than 20 pixels by length or width, agents can't cross certain parts of the plane, agents can't have speed limits in their movements...etc). If the agents fail to follow any of the rules, they are reduced to small pixels and taken out of the plane. However, upon the creation of the agent, each agent is assigned a "privilege value". The higher the "privilege value" an agent has, the more rules it can bypass. For example, more "privileged" agents can grow bigger than normal agents, can move faster than normal agents, can go to areas on the plane normal agents aren't allowed to go.
Attempts at Symmetry (2018)
Attempts at Symmetry (2018)
2018
Computer Program (Processing), 4 Channel Moving Image
Shown in:
Forms Please, 1335 Mabini, Manila, Philippines (2018)
Attempts at Symmetry is part of a series of experiments on creating moving images through the use of programming. In this experiment, shapes are randomly created within a certain range in the screen, the values are both random and artist defined. After a given time, the range changes again. Thus constricting the shapes to a certain section of the screen again. The program is run and edited four different times producing four different videos attempting to make a symmetrical movement between the shapes. However since randomness is also involved, symmetry is never truly achieved.
Trails (2017)
Trails (2017)
2017
Manual Drawings, Computer Program (Processing)
Shown in: Delikado / Peligroso, El Ranchito Residency Matadero Madrid, Madrid, Spain (2017)
Trails was developed during the El Ranchito residency in Madrid in 2017 and examines the simultaneous experience of inhabiting both physical and digital space. For the first thirty-five days of the residency, I recorded my daily geolocation routes and translated each path into a drawing. These drawings are installed directly on the floor, forming a quiet record of my physical movement through the city.
Projected onto these drawings is a Processing program that visualizes my mobile data usage for each corresponding day. Every dot represents an amount of data used, with colors mapped to specific applications. Together, the static lines of physical movement and the shifting constellation of digital activity create a layered portrait of presence. The piece reflects on how daily life now unfolds across two overlapping terrains—the places we walk through and the constant, invisible traffic of our digital interactions.
Area of Responsibility (2017)
Area of Responsibility (2017)
2017
Computer Program (Processing)
Shown in:
Between States, OURArtProjects, Kuala Lumpur, Malaysia (2017)
Through the use of programming, I aim to explore the idea of boundaries. The software starts out as a blank screen with a variable number of moving agents. Each agent will move with a limitation given initial rules. It can only move within a preset area, meaning it can only move up until a certain point in the plane. However, as the program progresses and based on random variables the rules that these agents follow will change. Their boundaries or areas wherein they can move can shift, expand, decrease based on several different factors such as time, their current location and also randomness. As this happens the basic system of rules of borders becomes more complex and dynamic. The borders then become more and more unrecognizable as the agents start going into blank/unexplored parts of the plane, start interacting with other agents and start moving with the borders of other agents.
In this project I still explore the idea of emergence or emergent behavior, where agents bound by simple rules once compounded with other rules, and its interaction with other agents can create complex systems.
Picture of a Thousand Sunsets (2017)
Picture of a Thousand Sunsets (2017)
2017
Computer Program (Processing)
Shown in: Picture of a Thousand Sunsets, 98B Collaboratory, Manila, Philippines (2017)
This piece reflects on how our experiences shift once they pass through the screens we hold up to the world. It begins with a quiet sunset on a mountain, a moment that should have been simple, but was immediately filtered through my phone and sent out into the stream of shared images.
From that first photograph, the work pulls in countless other sunsets gathered from social media, layering them until the original view becomes almost impossible to trace. Each added image blurs the boundaries between memory, documentation, and repetition. What should be a single horizon becomes a maze of overlapping frames, a reminder of how easily our experiences distort when seen through a thousand other versions of the same moment.
The piece sits in that tension between witnessing and consuming, showing how the familiar can dissolve into an image shaped by everyone and no one at the same time.
Multiplied Complexities (2016)
Multiplied Complexities (2016)
2016
Computer Program (Processing)
Shown in:
Hypermanilaraama, NOVA Gallery, Manila, Philippines (2016)
Venture Capital, 1335Mabini, Manila, Philippines (2016)
Manila Biennale Open City, Manila, Philippines (2018)
This work draws from passenger data across Manila’s MRT stations, translating numbers into a dense field of shifting points. Each dot marks a body moving through a system that strains under its own weight. In the sketch, these particles crowd, collide, and attempt to settle within a space that never quite accommodates them. The image becomes a portrait of public transportation in Manila: chaotic flows compressed into narrow corridors, lives funneled into structures not built to hold them. Through this accumulation of coded marks, the piece reflects on the daily negotiation of movement in the city, where complexity multiplies and every journey becomes an act of endurance.
Emergence (2013)
Emergence (2013)
2013
Computer Program (Action Script), Powered by: Facebook Likes
Shown in:
Open Studios, Metafora, Barcelona, Spain (2013),
ESC Projects 98B Collaboratory, Manila, Philippines (2015)
Emergence is a time-based work that examines how small digital gestures accumulate into impact. The piece is activated by Facebook likes: each like adds a new visual element, and each removed like subtracts one. What begins as an empty system gradually grows or collapses based on audience interaction.
By making the “like” both collaborator and catalyst, the work reflects on how social platforms quantify attention and assign value. The piece becomes a living record of participation, revealing how a simple tap of a button can shape an artwork’s form, presence, and lifespan. Here, the familiar thumbs-up becomes a mechanism that exposes how digital validation influences what we create, what we share, and what we choose to pay attention to.
Automation (2013)
Automation (2013)
2013
Computer Program (Action Script)
Shown in: Order of Things, Homesession, Barcelona, Spain
Automation began as a reflection on the kind of art education I grew up with, where value was often measured through effort and repetition rather than concept or intuition. In this work, I wrote a program that performs this logic without question. It draws line after line through simple rules, building an image through constant labor. The drawing shifts every second, slowly occupying the entire space, and continues its mechanical process without pause.
The piece mirrors a system where production itself becomes the measure of success. By allowing the software to carry out an endless task, the work exposes how routine, discipline and output can overshadow intention. What emerges is an image that is always changing, always working, and never truly finished. Automation becomes both a record of process and a quiet reflection on how creative work is shaped by structures that privilege effort over imagination.
Link: https://www.homesession.org/past-invited-projects/ely-daou-miguel-inumerable/
The project involves creating an art work by drawing lines as defined through a series
rules.
1. The first line is always 5 pixels high.
2. The next line should be drawn 1 pixel away from the previous line.
3. The height of the line must be between the +5 and -5 range of the previous line’s
height.
4. The opacity of the line can be between 70% and 100% but the opacity must be within
10% or the previous line’s opacity.
5. The y-position of the line must be between the +1 and -1 range of the previous line’s
y-position.
6. The speed of the drawing ranges from 1 line per 1000 millisecond (or a second) and 1
line per 1 millisecond.
7. Once the line hits the right end of the stage, it starts again at the left far end of the stage but 100 or 200 pixels below the previous line. It can start at either x-position 0 or x-position 1.
8. Once the line hits the bottom right corner of the stage, it starts again at the top left
corner, where it all began.
9. Keep doing this until you have no more white or gray spaces...
10. ... Actually, even then, continue drawing lines.
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