Kinetic art installation, made of a modified plotter machine, sand, metal, wood, Raspberry Pi. The system is running custom software that automates its movements and temporal sequences.

Myriad, Stockholm (SE), 2024. Photo: Happy Wilder

Description

Infinite Sand Sorter is a drawing machine caught in an unending cycle of making very slow movements. Its performative act of marking traces in the sand echoes ancient methods of sketching, doodling, and conceptualizing ideas in the sand—practices common among children, indigenous gatherers, playful philosophers and creative tinkerers. Continuously sorting sand, the machine grapples with the harshness of physical reality—filled with friction and entropy—while trapped in an endless loop of software-driven instructions: turn, move, rest, repeat.

The resulting choreography produces an ever-evolving pattern in the sand, creating and solving spatial problems simultaneously within a self-made, labyrinthine temporary environment. The pace of this process is deliberately slow, allowing ample time for contemplation and observation of the seemingly purposeless nature of the act when viewed on a cosmic scale. Sorting, cleaning, and rearranging are intrinsic aspects of human nature and living organisms in general. This artwork provocatively attempts to externalize this urge for structure onto the surrounding environment. The act of sorting tiny grains appears nearly impossible to complete within any reasonable timeframe. Thus, the machine's existence operates more on an ontological level. Sorting and reorganizing closely align with the search and replacement of existing elements to establish order and reduce entropy. Through movement, it simultaneously builds and modifies spatial paths, passages, and generative patterns as a labyrinth without walls.

Mazes and labyrinths are historical structures that effectively showcase the concepts of decision based movements through physical and cognitive space. In a labyrinth, a navigator must make choices in order to find the correct path. Labyrinths often have a practical design that helps in recalling and enhancing memory functions. On the other hand, a maze might aim to confuse and disorient even a structured mind instead of facilitating easy navigation. Apart of these clear intentions, numerous environmental alterations, such as the Nazca Lines in the Nazca Desert of Peru, remain enigmatic in their original purpose. Created by removing surface material to reveal different-colored soil, their purpose remains subject to ongoing speculation—from religious beliefs to functional water collection and even theories suggesting astronomical significance. In the case of the Infinite Sand Sorter, the creation of straight lines with right angles only mirrors an endless quest to uncover and solve paths, construct and deconstruct concepts, and preserve memories of movements and decisions within the space-time continuum.

Myriad, Stockholm (SE), 2024. Photo: Happy Wilder

Artist Statement

As an artist, my primary focus lies in algorithmic art: creating visual art and real-time sound experiences through coding. In my artistic exploration and practice, I am interested in the philosophical aspects of computation, the extended mind, and the cognitive aspects of the human condition. While new technologies emerge and fade rapidly, the overarching purpose — understanding ourselves and our place in the world — remains as crucial as ever. I find it fascinating that humanity invents and explores technological, ritualistic, or artistic tools to frame problems and devise solutions. Language stands out as a robust framework—a tool that materializes symbols, semantic layers, and reality.

I'm deeply impressed by our ancestors who developed ways to comprehend our environment and our relationship with reality. I believe cultivating critical thinking is vital to navigate the escalating complexity and abundance of information that surpasses an individual's capacity to perceive. I see art as an autonomous expression of the aspects above, that acts as a gateway to our innate nature, aiding in understanding ourselves, our emotions, and our connections with others.

The installation's outcome is a collaborative effort, intertwining various perspectives from diverse cultural contexts, where transparency and traceability is a fundamental concept; the artwork utilizes numerous free and open-source software and hardware components, showcasing the contributions of myriad individuals within the networks of casual creators, enthusiasts, artists, and practitioners.

Appearances

  • Myriad, R1 Reactor Halle, Stockholm (SE), 2024
  • 12 Hz Exhibition, Collab, Budapest (H), 2024
  • M21 Gallery (early prototype version), Pécs (H), 2023

Credits

© Agoston Nagy 2025