Markos R. Kay’s Generative Art Explores Molecular Biology and Digital Worlds

Transmission 129: Interview with Markos Kay

Markos R. Kay’s art connects complex science with visual expression through generative methods, exploring particle physics, molecular biology, and digital abstraction.

Markos R. Kay (neé Markos Christodoulou) is a multidisciplinary visual artist, creative director, illustrator and lecturer based in London, best known for his focus in art & science and generative art. He graduated with a Master of Arts in Communication Design from Central St. Martins in 2007 and is currently working as a multidisciplinary creative and lecturer. His artworks are characterized as a continuous investigation of digital abstraction through generative method experimentation. His research frequently explores the intricacies of the enigmatic and invisible fields of particle physics and molecular biology. The computational paradigm of the natural sciences as it relates to scientific observation, simulation, and visualization is a central issue in his artwork. 

Deconstruction has a significant influence on him, and he draws inspiration from biological forms and processes, life, and natural cycles. Molecular biology, digital physics, information theory, and complexity science are further fields of study. Using a variety of techniques and concepts from a-life research, his artificial life video art project “aDiatomea” is an artificial life system. Diatomea’s fundamental idea is that all of its components are wholly mathematically generated; as a result, it is not intentionally made as an artwork but rather as a sophisticated system that develops on its own. The video pushes the limits of intricate computer computations with its 36-second evolution recording. This work was included in the official selection at Imagine Science Films in New York in 2012 and is permanently on display at the Phyletic Museum in Jena, Germany. 

As part of “Resonance,” a collaboration between more than 30 independent visual artists and sound designers, his 2011 3D generative short “The Flow” has been screened abroad. OFFF Barcelona, Pause Fest Melbourne, Onedotzero London, Stroke Artfair Berlin, and Viedram Rome are just a few of the places where his films have been shown.

Featured image: aBiogenesis
Markos R. Kay‘s official site, Facebook, Instagram, Myshopify

What early experiences influenced your curiosity in visual arts? Could you summarise the main events that brought you to choose this path?  

The foundation of my artistic journey was laid  in childhood through two particularly formative experiences. First, an art encyclopaedia that I would spend countless hours studying, particularly drawn to the works of Bosch, Van Eyck, Caravaggio, and Velázquez. The second was a scientific illustration of the Big Bang in the January 1994 edition of National Geographic—an image I still keep to this day. That moment crystallised for me how art and science could converge. My curiosity really was about how the world operates, the visual arts fulfilled the need to express that curiosity.

He worked with partners like the Barbican, the Horniman Museum, the Stanley Kubrick Archives, Imagine Science Films, and others while serving as Pathway Leader of Animation Arts at the London College of Communication, University of the Arts London, from 2016 to 2020.

Complex scientific ideas are often explored in your artwork, particularly in areas like quantum mechanics and molecular biology. What first motivated you to create art that bridges the divide between science and art, and how has that intersection changed over time in your works of art?

My motivation stems from an inherent drive to understand how things work on a fundamental level. I’ve always viewed science and art not as opposites but as deeply interconnected aspects of human culture. The scientific method itself mirrors the creative process—both deconstruct and reconstruct knowledge, uncovering beauty and complexity along the way. This perspective has evolved in my work from my early digital experiments with artificial life to more recent explorations of biocomputing and neural networks. What fascinates me is how scientific visualisation has its own language and iconography, and how these visual interpretations shape our understanding of complex phenomena. My work aims to deconstruct this paradigm while making these abstract concepts more accessible and intuitive for viewers.

Science and visual art are combined in Markos R. Kay’s artwork. Through artificial life and generative creative techniques, he addresses themes of emergence, development, and complexity.

You have successfully illustrated the abstract nature of quantum mechanics in your “Quantum Fluctuations” series. Could you describe your creative process for turning such ethereal events into something that can be seen with the naked eye?

With “Quantum Fluctuations,” I approached the visualisation process through simulation, setting up virtual environments where millions of point-like particles with specific attributes like speed and gravity could interact, translating complex particle interactions into visual forms through parametric systems. Using simulations as the main medium mirrors modern scientific observation itself: setting initial conditions, running simulations, and selecting the most compelling iterations. This means that the results are unpredictable and complex simulating the way physical processes work.

A scene from “The Flow” appeared in Breaking Bad season 5, episode 3, in 2012. Simultaneously, a longer and annotated version of the film was released. The film’s composers, Echoic Audio, won the 2012 Van d’Or Award for Best Sound Design.

The link between the micro and macro scales of reality is explored in several of your works. In what ways, in your opinion, can art make the vastness and complexity of the universe easier for humans to understand?

I believe art can help us contemplate patterns that repeat across all scales of reality, from the microcosm to the macrocosm. This connects to the emerging field of “Big History,” which brings together different disciplines describing the universe—from particle physics to astrophysics to biology to humanities. Through visual representation, my work strives to make these connections more intuitive and accessible. For instance, in projects like “The Flow,” I explore how information transforms and increases in complexity across different scales, for instance how particles become atoms, atoms form molecules, and molecules create cells. Art can bridge these vast differences in scale by creating visual narratives that resonate with viewers on an emotional level, making complex scientific concepts more approachable and engaging.

Markos R. Kay’s art and design practice spans screen-based media and print, and has been featured in museums, exhibitions, festivals, and publications including the ArtScience Museum, Museum of Contemporary Digital Art, Bill and Melinda Gates Foundation, Ars Electronica, National Geographic, Wired, and VICE.

Both digital and generative approaches are used in your artwork. How do you strike a balance between the technical aspects of your work and preserving a natural, emotional connection to the subject matter? How do algorithms and coding influence your artistic vision?

My approach is fundamentally concept-led—the technical aspects are merely tools to bring ideas to life. The computational tools I use reflect the organic unpredictable forces of nature and our current scientific paradigms about them. Working with generative systems is a process of discovery rather than rigid control as they have a life of their own. They enable a free-flowing creative process that unfolds on its own accord which creates plenty of opportunity for evoking emotional response. 

Your artwork frequently mimics the systems and processes seen in nature, and it has a very fluid and dynamic aspect. What similarities do you notice between the emergence of patterns in your digitally made pieces and the unpredictable character of nature?

In my work with simulations and generative systems, I’ve noticed striking parallels between computational processes and natural phenomena. When working with these systems, you set initial conditions and then observe as complex patterns emerge autonomously—much like how natural processes unfold. This was particularly evident in projects like “aDiatomea,” where I explored the possibility of simulating life using pure information and mathematical formulas. The unpredictable yet structured nature of these digital systems mirrors the way biological processes operate, suggesting deeper connections between information processing in both natural and artificial systems. These parallels have become even more relevant with the emergence of AI and neural networks, which in many ways mimic natural intelligence.

MIT, Belfast City, the European Parliament, the Howard Hughes Medical Institute, the Simons Foundation, the National Hemophilia Foundation, and the Playgrounds Design Festival are among the scientific, governmental, and artistic institutions with which he has collaborated. Additionally, he has worked with commercial clients including YouTube, Warner Bros., Apple, Fox, Disney, Nike, Adidas, Maserati, Ford, MTV, Nvidia, and the BBC.

Can you tell us how the idea and the collaboration with photographer Jan Kriwol for the project “Human After All” came to life? 

“Human After All”  started from a lifelong fascination with old anatomical drawings where cross-sections of human figures were rendered in outdoor locations such as in the works by Andreas Vesalius and Giulio Casserio. Jan Kriwol serendipitously contacted me with the concept of a modern interpretation of these illustrations combining 3d with photography and our collaboration took over 2 years to complete. He shot a large number of locations and angles with a human model in place which I used as a reference to set up a 3d rigged model. The 3d model was then used as a base to grow arteries using a particle simulation system. 

The idea of chaos and order may be found in many of your artworks. What part do you think these competing forces play in the scientific phenomena you portray as well as in your own creative process?

In my practice, I’ve found that the interplay between chaos and order reflects both natural processes and artistic creation. When working with simulations or AI, I set up structured parameters but allow for emergent, often unpredictable outcomes. This mirrors how natural systems operate—there’s an underlying order, but the exact manifestation can be chaotic and surprising. I’ve explored this particularly in projects examining quantum phenomena and cellular processes like in “Quantum Fluctuations” and “Microscopic Leaps”, where precise scientific principles give rise to complex, seemingly chaotic behaviors. The creative process itself involves this same dance between control and spontaneity, whether working with traditional media or digital tools. It’s about finding the sweet spot between directing the outcome and allowing the system—whether natural, computational, or artistic—to reveal unexpected possibilities.

You are a visual artist, creative director, illustrator, and have experience with a variety of formats. How does the medium affect the end result, and how do you select it for each project?

I always start with a big idea and then find the most appropriate medium to bring it to life. I’m a strong believer in “the medium is the message.” Sometimes this means learning entirely new skills or tools if that’s what the concept demands. The medium choice flows naturally from what will best serve the core idea and message I want to convey.

What do you hope viewers take away from your work, especially those without a scientific background? What was the most unexpected reaction you’ve had to one of your pieces, and how did it make you think about how the public perceives your work and making complex ideas appealing?

My aim is to engage viewers on an intuitive level with complex scientific subjects that might otherwise feel inaccessible. Rather than focusing on technical accuracy alone, I try to evoke a sense of wonder and curiosity about the hidden processes behind our reality. The response to my work “Abiogenesis” was particularly surprising – some viewers suggested that these primordial biological forms activated deep memories of our ancient past. This showed me that people can connect with complex scientific concepts on a very instinctive level, beyond pure intellectual understanding.

In the era, where A.I. is rapidly advancing, what do you think is the future of digital art?

I believe AI will revolutionise digital art while opening up entirely new forms of creative expression. Rather than seeing it as a threat, I view AI as a natural evolution of computational generative art, which has been around since the 1960s. The technology allows artists to realise concepts that would have been impossible before, either due to technical limitations or time constraints. For me personally, as someone with a disability, AI tools have been transformative in allowing me to create again. However, I think there’s too much focus currently on fears surrounding AI and not enough conversation about how it can augment human creativity in novel ways. We’ve barely scratched the surface of its potential.

Photo and images courtesy of Mark Kay

Dominique Musorrafiti

Ciao! My name is Dominique. I’m Italian and I’m proud to be a mix. My father was an Italian chemical engineer and high school teacher, with Greek and Polish heritage. My mother is Haitian, she was high school language teacher, with Dominican, Spanish, French, Portuguese, African and Native American heritage. Being a mix makes me appreciate to want to understand different cultures and lifestyles. I grew up in Italy, lived few years in Haiti, travel around main European capitals, lived many years in China, in Spain and UK. Traveling makes me feel that we can learn something from every situation in every part of the world.