Mesmerized by the soft texture, our gaze follows the impression of growing plants, mysterious galaxies, or ripples of foliage on greenish waters. The patterns on Thomas Ruff’s tapestries have one thing in common: they show fractals, that is, structures whose internal mathematical laws can lead to digitally generated shapes of blossoms, stars, and snails. These can also occur in nature, for instance, as in the structure of fern, crystals, or cabbage. Fractals are characterized by the infinite repetition of their own form, also known as self-similarity.

In his practice, Ruff repeatedly appropriates image-generating tools and explores the potential of photography to define our image of humanity and the world. Using fractal software, he probes an infinite, visual universe and generates renderings that challenge the term “nature.” The artist’s prints on velour carpets chart new territory. The opulent splendor of his pictorial inventions appeared flat and insignificant on Kodak paper, but thanks to technological advances, the carpets convey depth and brilliant colors. Ruff has created a hybrid between renderings, photo art, painting, and object.

The title d.o.pe. refers to Aldous Huxley’s account of his experience with the hallucinogen mescaline in his autobiographical book The Doors of Perception (1954). The book inspired the hippie movement, which also shaped Ruff’s memories of his youth. The artist’s fascination with the beauty of mathematical phenomena seminally influenced the seductive magnetism of moving color and shape in his d.o.pe. series.