Generative Prints – 2013 Bundle


  • USD: $1,009 - $1,765
  • EUR: €939.84 - €1,644.72
  • GBP: £793.44 - £1,388.52
  • BTC: ฿0.0160000 - ฿0.0280000

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SKUGPB-2013 Category Tag

Pure Generative Art drawn in C++ and OpenGL. This is one of the early works of the current creative coding movement, created in 2013.

Goh is looking for art collectors who are aware of the historical value of Generative Art.

Generative Prints is a series of art works by Goh in which images generated by uniquely developed computer algorithms for each work are printed with archival inks on the most suitable materials.

This bundle includes seven main works in 2013, plus five drawings, for a total of 12 prints. It is limited to 50 sets.

Goh concentrated on Generative Art works in 2013 as an exploration of the aesthetics that come from coding, which are shaped by the dynamics of the vast number of particles in the computer’s force field, and which cannot be drawn by human hands.

*Update in Mar 2024 – Added framing options and a background story for the bundle sale
*The price is currently reduced for early adopters. We will raise the price without prior notice depending on the number of works remaining.

Finishing Options

Standard Framing

All works will be framed.
This option uses a standard framing method that a white mat and a wooden or aluminum frame.
The frame is made with an acrylic panel that blocks 97% of UV rays, one of the main causes of fading. The print is backed to enhance its flatness.

Atoms – φ , Atoms – SAluminum frame, Edge width 6mmBlack
Fluid flower Aluminum frame, Edge width 6mmWhite
Massive FlowAluminum frame, Edge width 6mmBlack
Ghost RiverAluminum frame, Edge width 6mmSilver
Atoms – O, darkAluminum frame, Edge width 6mmBlack
Atoms – O, lightAluminum frame, Edge width 6mmSilver
Atoms – drawing, no.1,2,3,4,5Wood frame, Edge width 13mmMilky white wood

Archival Box

This option is for collectors who want to preserve an artwork for a long time in a stable manner.

The print is housed in an acid-free and lignin-free archival box. (The box has passed The Photographic Activity Test (PAT), an archival standard ISO Standard 18916.)

Generative Prints 2013 / Limited Edition 50

7 Prints

Atoms – φ
Atoms – S

Atoms – φ , Atoms – S

This work is generated by a multidimensional particle physics program and is part of a series called *Atoms*, in which visualizing are made using only simple point clouds.

This work is printed on highest gloss paper or white film, which is flatter than general photo paper.

Limited Edition50
SizeImage 40.3 x 297 cm, Paper 48.3 x 32.9 cm
MaterialsPigment ink on highest-gloss sheet for archiving

Fluid flower

In this work, point clouds move back and forth between dimensions such as points, lines, and surfaces while repeatedly aggregating and discretizing, generating unique and complex shapes with the trajectory of their motion.

This work is printed on semi-glossy paper with fine irregularities.

Limited Edition50
SizeImage 40.3 x 29.7 cm, Paper 48.3 x 32.9 cm
MaterialsPigment ink on semi-gloss paper for archiving
Fluid Flower
Massive Flow

Massive Flow

The work visualizes the dynamics of flow, with a vast point cloud reflecting the fluctuations of equilibrium and collapse brought about by the lower structure of the system.

This work is printed on semi-glossy paper with fine irregularities.

Limited Edition50
SizeImage 42 x 28.6 cm, Paper 48.3 x 32.9 cm
MaterialsPigment ink on semi-gloss paper for archiving
Ghost River

Ghost River

This work is printed on full glossy paper.

Limited Edition50
SizeImage 42 x 28.6 cm, Paper 48.3 x 32.9 cm
MaterialsPigment ink on high-gloss paper for archiving

Atoms – O , Atoms – O

This is a work from Atoms, a series of visualizations using only a simple point cloud.
This work is generated using the same algorithm as Atoms – φ, S above, but with different parameters.

This work is printed on semi-glossy paper with fine irregularities to enhance the graininess.

Limited Edition50
SizeImage 32 x 32 cm, Paper 48.3 x 32.9 cm
MaterialsPigment ink on high-gloss white paper for archiving
Atoms – O
Atoms – O

5 Drawings

Atoms – drawing, no.1,2,3,4,5

These small drawings are generated using the same algorithm as the 2013 series of works *Atoms*.
They are printed on 100% cotton acid-free fine art paper with a matte surface and fine texture.

Original Created2017
Limited Edition100
SizeImage 14.2 x 14.2 cm, Paper 21 x 29.7 cm
MaterialsPigment ink on fine art paper for archiving
Atoms drawing, no.1
Atoms drawing, no.2
Atoms drawing, no.3
Atoms drawing, no.4
Atoms drawing, no.5
Atoms drawing, no.1
Atoms drawing, no.2
Atoms drawing, no.3
Atoms drawing, no.4
Atoms drawing, no.5

The print size is A4 (210x297mm).

*The color of the work displayed on your monitor may differ slightly from the actual work.
*To prevent plagiarism, the images of works on this page are low-resolution.

Generative Prints

Generative Prints is one of the work formats that Goh has been developing since 2013, based on the idea that “digital prints are not a low-grade substitute for classical printing methods, but an independent expressive method.

Digital printing, such as inkjet, is a very precise dot manipulation method made possible by modern technology, and is one of the best interfaces for outputting the world inside a computer.
Taking advantage of this characteristic, he has developed his own computer programs to create new expressions optimized for digital printing, creating works that cannot be realized by human hands. For example, he has created works that capture the moment when a swarm of billions of dots forms or collapses through physical simulation, or visualizes the logical space that is connected to and collaborates with non-human intelligence.

These 2013 works were created using only C++ and Open GL programming, without Photoshop, 3DCG, or other creative software, in order to pursue a coding aesthetic.


This series was created in 2013 and each work was sold individually for a period of time. The works were purchased individually as customers selected one piece they liked or one piece that would fit in their room.

That was fine at the time, but over time the meaning of the works has changed. In recent years, digital media expression has gradually begun to be reevaluated, and a historical examination of the techniques and one of the categories, Generative Art, has become necessary. In light of this, I wanted to leave these works in a verifiable state.

In order to verify the expression of works, it is essential to check the actual works, the positioning and necessity of the method and style in the artist’s activities, and a consideration of the historical background.

Generally it is difficult to derive these factors from a single work, and multiple works are required. In order to examine them honestly, it is desirable to have as many works as possible, especially if they are part of a series that focuses on a particular technique or medium.
Simply put, you will see different things if you look at a single work than if you look at a series of works together.

Reevaluation takes time, and the works must remain

Art discourse and movements that are not based on the actual works are weak, inaccurate, and meaningless, assuming that the actual works can be in any medium (including digital). I believe that the current “revaluation” is a case in point.

Although Generative Art has been around for a long time, it is necessary to distinguish between eras. The number of contemporary works has increased, and unlike up until the 2000s, the information on computational expressions is not collected by academic societies, nor is it treated by art institutions, so the actual situation is not fully understood. The current “revaluation” is only a partial and arbitrary focus on a particular community or linguistic area.

As an example of the buried reality, I describe my own experience: in 2013, both computer-based digital techniques and inkjet printing were still looked down upon as art expression. Also, my attempt to establish a method called Generative Prints to solve the problem of expressive output capability of computer space, which was insufficient for LCD monitors and projectors at that time, and to connect it with Generative Art, was not understood at all. Digital art was looked down upon as contemporary art, and as Media Art, painting, printing, and making art for sale was seen as old-fashioned. I remember well how badly I was treated by curators, galleries, and other art professionals.
And when they changed their attitude 180 degrees without any remorse with the recent digital art craze, especially the NFT art bubble, it woke me up in many ways.

Those experiences have led me to the conclusion that the existing art professionals are not worth trusting, and that I should trust only the actual works and concentrate on getting them to the people who need them.

The reason why I decided to sell a certain amount of the works in this series as a bundle was because I wanted people who understand the historical value of the works to have the actual works.

(I say “a certain amount” because some of the works are no longer possible to produce today due to the fact that the materials used in their production have already been discontinued or data has been lost.
The idea is that if I can’t have everything, I should focus on the major works and organize them in a way that makes them easy to purchase. I think that works are fragile things, because this is what happens even if the artist himself has been managing them carefully for only 10 years.


Massive Flow

Below are reference images of framing.

Massive Flow, Float Mounting
Massive Flow, Aluminum Mounting

Numerous versions with slightly different color tones were printed and verified, leading to a finished piece.

Fluid FLower

Although this is visual of a complex form, it is not a layered composite of several different materials, but the result of a single shot of a single simulator’s computational process.
As the enlarged image shows, a large number of particles are involved with each other to compose the morphology. (Perhaps it would be impossible to try to recreate it again now.

Atoms – φ
Atoms – φ
Ghost River
Ghost River
Atoms – O
Atoms – O
Atoms – drawing, no.1
Atoms – drawing
Atoms – φ
Atoms – S

Atoms – Φ, S show slight roller marks when approaching the film with the naked eye, although they are not noticeable in normal exhibition. Please note that this is a technically unavoidable problem.

Massive Flow
Fluid Flower

Buy artworks directly from the artist

In this shop, the artist sells his artworks directly. Do you know the advantages of direct sales?

1. you can encounter works that give you a better sense of the artist’s originality and individuality.

Direct sales allow an artist to offer their new and experimental works most freely and quickly.
When intermediaries such as sales agents or sales opportunities such as exhibitions are used, an artist is required to provide works that have a high chance of selling. This is because the costs of intermediaries and exhibitions are high, and more profit is required. However, a “work that has a high chance of selling” means a work that is suitable for the general taste (when the buyer is unspecified), not a work that is new or superior in its expression.
Direct sales, in which works can be freely offered even before many people have found value in them, are an opportunity for the enjoyment of encountering works and the purity of expectations for the future.
This is my theory based on personal experience, which is not often pointed out, but I think it is the most important advantage of direct sales.

2. The works can be purchased at an affordable price.

By not going through a sales agent, there is no intermediary margin, and the works can be offered at the most affordable price.

3. You can directly support the artist’s activities.

Purchasing artwork is the most important support an artist can receive in their creative process. This is because, compared to other forms of support such as grants, it contributes directly and sustainably to the continuation and development of the creative process, as it allows the artist to integrate the practical cycle from production to release of the work into their life, and the funds obtained are free.

In the case of direct sales, in particular, the artist who has limited funds and time to spare can benefit greatly from the low transaction fees and quick payment. This allows the artist to explore new forms of expression in a quicker cycle.

If you have any concerns or suggestions regarding your purchase

You can find the ” Shopping Guide – Products, Payment, and Shipping ” on this page.
You can also feel free to contact us through any of the following channels.

TypeOriginal Print
Limited Edition50
Original Created2013
Techniques, MaterialsInkjet, Pigment ink on semi-gloss paper for archiving
SizePlease check the size for each piece.
AuthenticityArtist’s Signature & Certificate
Finishing Options - Prints

Archival Box, Standard Framing


All prints are original printing works that are created and quality-checked directly by the artist.
The high-definition visual expression created for printing is combined with paper and film selected to produce the optimum texture for each work, results in works with a material feel like thin sculpture that ensures a sense of ownership.

◎Materials of the highest quality
The works are printed on the highest quality papers and films and with archival inks to ensure long-lasting color retention.
(Approximately 200 years of darkroom preservation and 60 years of light and gas resistance have been calculated using the JEITA CP-3901 test method for predicting life expectancy.

◎Certificate of Authenticity
All prints are signed by the artist and accompanied by a certificate of authenticity of the work.

Finishing Options

We offer a variety of options to suit your needs, including long-term storage of the work, framed and ready to hang upon arrival, or sheet only to reduce shipping costs or to frame the work according to your personal preferences.

♦ Archival Box

This option is for collectors who want to preserve an artwork for a long time in a stable manner. We also recommend this option if you choose to frame your print yourself.
The print is housed in an acid-free and lignin-free archival box. (The box has passed The Photographic Activity Test (PAT), an archival standard ISO Standard 18916.)

If you plan to collect many works in a series, this option is recommended as it takes up less space and is easier to store.

  • The print is supplied as an uncut sheet with margins, in case it is later framed.
  • Box colors and types may vary from lot to lot.

♦ Standard Framing

This is a common framing method where the print is placed in a wooden or aluminum drawing frame. This option allows you to display your work immediately after it is received.
Acrylic boards, which block 97% of UV rays, one of the main causes of fading, are used, and prints larger than A3 size are backed and framed to enhance flatness.

If a choice of frame color, size or shape is not available on the product page, the artist will select the appropriate one for each work.
Whether matted or directly framed is the artist’s choice for each piece.

  • Hooks for hanging on the wall will not be enclosed.
  • Mats specifically designed for long-term preservation will be used for prints priced over 1000USD per print. For prints priced below that, general quality mats of no practical problem will be used.
  • Prints are pre-backed and the sheet and back sheet are not separable.
  • Frames purchased from general framing stores will be used. Although we have not heard of any problems with normal use, please understand that this option is not for long-term storage of the artwork, as the effects on long-term preservation of the artwork are unknown, such as gases generated from the various materials that make up the frame.

♦ Sheet

This option is for sending prints only in simple packaging. Please use this option if you choose your own framer and preservation tools.
The price of this option is the reference price for the work alone.

*Note: This option is sent in a tube box with the *sheet rolled up* to lower shipping costs. The sheet will be rolled and must be framed for display.

  • This option is available by letter post within Japan. (the cheapest shipping method)
  • The print is supplied as an uncut sheet with margins, in case it is later framed.

*The following options are currently unavailable. (It was hard for me so I decided to stop for the time being.)

♦ Frame – Aluminum Mounting

A finishing method for bonding aluminum-composite-plate to the back side of the print.
Because the printed surface becomes exposed, this option is suitable for exhibiting while feeling the texture of the print as it is.
(This option is a printed surface is exposed, so if you continue to display as it is, discoloring will proceed fast. If you like the print, we strongly recommend to put it in a box-frame or to save it in a dark place, within a few years. The details here

  • Around 2 or 3 weeks will be added to a delivery date.

♦ Frame – Acrylic Mounting

Around 2 weeks will be added to the delivery days.A finishing method for bonding an acrylic-plate to the surface of the print.
The impressions of clarity and depth increase, and they contribute to the feeling of luxury as an object.
In addition, because the printed surface is protected, it is resistant to deterioration and the handling is easy.

  • Around 2 or 3 weeks will be added to a delivery date.

♦ Frame – Float Mounting

A framing combined the aluminum mounting and the standard frame without mat. The print is mounted on an aluminum composite plate, then it is set in a standard frame. This option can protect the surface of the print with an acrylic board on the frame.
The artist chooses the frame color and size depending on the work.

  • Around 2 or 3 weeks will be added to a delivery date.



Goh Uozumi is an artist working in the field of Art & Technology.
His works have focused on the ‘automation movements in civilization,’ in which humans use technology to mechanize intelligence, contracts, labor, creation, trust, and life.

He studied Media Art under Professor Seiko Mikami and works with algorithm-based methodologies that are capable of including non-human intelligence/existence.  

He held a solo show of immersive audiovisual installation, Mk. God , in 2023 as the grand prize winner of the first Mynavi Award.

In 2020, he exhibited a large-scale work consisting of composite pieces, New Economic War at the Museum of Contemporary Art Tokyo. It focuses on the fact that humans are now able to operate massless things as *new resources*, including consciousness, thought, relationships with others, behavioral characteristics, social institutions, and all kinds of data. 

Since 2015, he has released three works reflecting on the world transformation through algorithms, taking advantage of the emergence of cryptocurrency, a technology that has successfully mechanized *trust,* once the exclusive property of nature, like love, etc., that is, making ‘God’ socially unnecessary in ‘In God We Trust.’

空の国家 -State of Empty that artificial intelligence creates a (nation) state for itself, and New Order/Siren Call?  that visualizes cryptocurrency and distributed ledger as an origin of new social order were created as commissioned works by NTT InterCommunicationCenter[ICC] in 2016.
And the origin of the both works, Trustless Trust/Mk.God that evokes memories of future artificial systems won the grand prize of Digital Choc Award 2015 by Institut Francais Tokyo, Zinc, and SecondNature.

In his early career, he belonged to Waseda University’s Lab for Molecular Cell Network as a visiting researcher of Bio Art in 2014.
In 2012, OBSERVER N that extends theory-of-life reality by decentralized autonomous network system, was commissioned by The Yamaguchi Center for Arts and Media[YCAM] , and his first major work, F – void sample that goes across the void and perception, won the encouragement prize of the 2009 Japan Media Art Festival.


News feed
List of Goh's activities and events. Work updates, exhibition information, etc.
Continue reading
New Work at MOT
My new work, New Economic War, is being shown in ‘MOT Annual 2020, Invisible Powers’ at the Museum of Contemporary Art Tokyo. 新作「New Economic War」を,東京都現代美術館の展覧会「MOTアニュアル2020:透明な力たち」で展示しています. 2021年2月14日まで MOT Annual is a…
Continue reading



Exhibition Catalogue, MOT ANNUAL 2020 - 透明な力たち INVISIBLE POWERS

MOT Annual is a group exhibition featuring young Japanese artists that invites inquiry and discussion by focusing on a particular aspect of contemporary art. The 16th MOT Annual will look at the workings of invisible powers in nature and society that affect people and things, through four artists and an artist duo who attempt to reconstruct the mechanisms behind such powers.


Bijutsu Techo, Dec 2018 - Feature: Art Meets Blockchain

My interview and essay about rewriting the public protocols in our society with the distributed ledger. I showed what the original evolvability of this field is and a critique for this trend.

  1. ‘Interview – Goh Uozumi x Minoru Hatanaka’,
  2. ‘For The Coming World – the cultural foundation in the distributed ledger era’ by Goh Uozumi
    1. Next generation protocol – Whole Museums
    2. Deception by “Art and Blockchain”
      • Hypes that should have ended, Regress that fakes as progress
      • Permeability of protocol, and Depredation of the public
    3. The new public
      • What is new subject
      • Public in cultural goods
    4. Where are we going


Gendai-Shiso, Jan 2017 – Feature: Philosophy of Bitcoin and Blockchain

An essay about *Trustlss Trust* and my recent art activities.With ‘what the trustless’ is at its core, I summarized the history of Bitcoin and the ideological background in cryptocurrency such as cypher punk, and the results in my art based on them. It’s the essence and fundamentals about why art should work on this movement.

  • ‘An attempt at interpretation of Trustless Trust’ by Goh Uozumi
    • TRUSTLESS – the principle and history
      • What is Bitcoin
      • Cypher culture and Money
      • Domain of Trust
      • Humans and trust, and toward reconsideration of subject 
    • New Order
正誤:p127, 10行目



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