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Diptych: laser-cut and digital print on plexiglass dim: 200 x 135 cm The hanging objects present microscopic image of a carbon substance (up) and its digital mapping (transcription) into a reciprocal space (down) by the use of digital fast Fourier

Laser-cut and digital print on plexiglass, projected light variable dimensions Photosensitive images are based on microscopic images of the nanoparticles of a magnetic fluid’s crystallized structure. Digitally processed and laser-treated images of

Digital print on plexiglass Variable dimensions This series of photographs was produced using a particular form of camera obscura created by the artist’s mouth. Technically the images are based on the use of a small piece of photosensitive paper

Uršula Berlot, Kaleidoscopic Gaze, 2010 video projection onto an image on a mirror (video loop 6′); two mirrors (90 x 180 cm; 90 x 110 cm), foil covering, projection and reflected light Site specific video installation; variable dimensions Uršula

Site-specific installation (La Cittadele, Saint-Tropez) plexiglass (150 x 200 cm), resin, light projection, sand 'Working with nature, Uršula Berlot sets out to discover its underlying principles, subtly intangible yet overtly percpetible. Her

Bend plexiglass, reflected light Dim: 100 x 200 x 60-80 cm 'An object by Ursula: a monochromatic shadowy image drawn on a white screen, on the floor or on the wall, by reflected light shining though deformed and corrugated plexiglass. This shadowy

#1 Vortex #2 Torus #3 Skyrmion Lattice #4 Skyrmion Collapse #5 Cross (B=16 Skyrmion) #6 Spiral (cross-section of horizontal vortex) kinetic light objects (series of 6) plexiglass, LED reflectors, turntables variable dimensions, diameter: 60 cm,

AL GRANO: Framing Worlds deploys a staging of fact and ction where various registers of images, texts and objects, coexist. These digitally produced 2D and 3D pieces have as common element the manipulation of languages, histories and codes (the

'Thalamus' is a simple user led environment designed for DATA projection into a gallery space where the user navigates the work with a mouse or slider set on a plinth placed squarely infront of the projection. The piece uses a metronome scale as a

ScanLink can be described as walking the web backwards. The underlying topology of connectedness, such as popularity and power distribution, is shown through a reverse traversal of links for any given web page. Using ScanLink the user can select a