Texture has a way of pulling us closer. Unlike geometry, texture insists on intimacy—it demands proximity, even touch. In digital art, where the medium resists material presence, texture becomes something stranger: a translation of matter into motion, weight into light. The endless detail entices, builds tension. You want to touch... but you know all that awaits is fingerprints on your screen.
This month brings together four works that approach texture as their core vocabulary. Each piece uses surface as both stage and actor, layering grit, weave, and grain until materiality itself becomes unstable—slipping between fabric, stone, liquid, and even chemistry. These works explore decadent moving textural worlds that will soothe and satisfy something primal in your mind. Some glorious moment, perhaps heretoforth unseen by anyone else, will knit itself together right before your eyes.
Disinformation (Chorus) by JERES unfurls like a woven topography. Patterns overlap and recede, forming a textile that is at once map and fabric, terrain and tapestry. In Gerhard, Leander Herzog and Richard Nadler build strata of shifting sediment—digital layers that erode and reform in real time, evoking the slow violence of geology. Richter, their companion work, approaches the same problem from another angle: grains and striations dissolve into gloss, surprising the eye with currents of liquidity hidden inside roughness.
Alongside these generative works, Chemistry of Hope by Dmitrii Shestakov offers a different kind of texture. Filmed through a macro lens, it captures alcohol inks in alchemical interplay—pigments swelling and scattering in recursive motion, folding seascape and nebula into one luminous field. The microscopic becomes immense.
Together, these works reveal digital art’s infinite capacity for textural detail. Their surfaces may be intangible, yet they carry the presence of stone, cloth, water, and light—a haptic language translated into impossible motion, an invitation to touch.
Coming next month—a guide to cleaning fingerprints from LCD screens.
Justin Maller
Head of Curation