UK · Art / Writing / Architecture · MMXXVI

Richard F Adams.

Computational expressionist work, long essays on technology and the philosophy of making, and three decades inside the machines that move things.

Scroll
I. Antiselfies 2020 — Ongoing

A simulacrum, framed.

The antiselfies began as a way to look hard at mortality through the apparatus of digital expressionism. Drawings, glitched into Baudrillardian simulacra, then rendered on canvas and bound in fake distressed frames so the simulacrum stays intact end to end.

The references are old and obvious. Bacon for the meat. Vermeer for the light. Hals for the painterly hand that refuses to settle. The machine is there. So is the doubt about which is which.

Artist note
All these works are produced with a mix of digital and computational techniques. They are designed as Baudrillardian simulacra, and they explore what the technology can offer me as an artist. They are finally rendered on canvas and framed with fake distressed frames to complete the simulacrum.
— RFA
The Work — Origins

When Death
Becomes Art

My journey from PTSD to Computational Expressionism

In 2018, I watched myself die.

Not metaphorically. Literally. On a hospital monitor, during my fourth heart operation in a series of medical disasters that nearly killed me. The line went flat. Everything stopped. And I was awake to see it all.

That moment changes you in ways I'm still discovering. It gave me PTSD. It isolated me from people I thought cared about me. And eventually, it gave me a new form of art I call Computational Expressionism.

Lying in that hospital bed, I made a choice. I could let this trauma define and destroy me, or I could channel it into something useful. Every time I felt the darkness building, I started making art.

Not just any art. I began creating anti-selfies — digital works that expose the raw, unfiltered emotional devastation that Instagram culture works so hard to hide.

Where normal selfies are curated performances of happiness and success, my anti-selfies show only the worst of my internal emotional state. They are deliberately ugly, honest, and disturbing.

The references are old and obvious. Bacon for the meat. Vermeer for the light. Hals for the painterly hand that refuses to settle. The machine is there. So is the doubt about which is which.

The Process — Digital Alchemy
  1. 01 Source material Pencil sketches or selfie photographs capturing the darkest moments
  2. 02 Digital corruption Custom code glitching and distorting pixels — breaking the image into fragments of itself
  3. 03 Digital painting Natural media synthesis painted into the corrupted image — expressionism meets algorithm
  4. 04 False authenticity The same filters that make regular selfies "perfect", applied in reverse — to reveal, not to flatter
  5. 05 Physical manifestation Printed on canvas, mounted in deliberately fake distressed rococo frames — artificial woodworm holes and all
On simulacra — after Jean Baudrillard

A fake antiquity around a fake image becomes a hall of mirrors. The anti-selfie doesn't try to escape simulacra — it pushes through to the other side. If selfies are simulations of happiness, my anti-selfies are simulations of despair, but in their obvious falseness, they open the possibility of truth.

— RFA, When Death Becomes Art

When these works are displayed in galleries, people cry. Not from sadness, but from recognition. They see their own hidden struggles reflected in digital distortion and expressionist anguish. That is when I knew I had succeeded in creating something beyond personal therapy — a form of digital art that addresses what makes us human rather than just clever bio-machines.

We live in an age of digital deception, where AI can create perfect images of things that never existed, where everyone's life looks amazing on social media, where authenticity is just another filter. These works fight back — using the language of Northern European Expressionism, from 17th-century Dutch masters through Francis Bacon, combined with computational methods.

Two rules for living after calamity
  1. Don't stress — and don't do anything you don't want to do.
  2. Remember the healing power of art. It can be remarkable.
Read the full essay
II. The Febrile Mind Long Reads, Substack

Essays at the seam of technology and the made thing.

Long form. Slow read. Pieces on the hollowing effects of cultural personalisation, on photographers who are not artists, on the kinds of wisdom you only earn by surviving something. Published roughly when there is something worth saying.
  1. 01 The Hollowing Culture · Personalisation
  2. 02 The Unlocking Sequel · AI
  3. 03 Most Photographers Are Not Artists Polemic · Aesthetics
  4. 04 Everyone Can Make Essay · Democratisation
  5. 05 On Kinds of Wisdom Long Read · Mortality
  6. 06 Choose Light Fiction · Short Story
III. About A short statement

A working life across pictures, words and systems.

Portrait of Richard F Adams
Richard F AdamsPortrait

Three decades across media, games, academia and technology. BBC, RSC, Aviva, Microsoft Studios, BSkyB. Currently Head of IT Architecture inside UK rail, governing an enterprise estate across a group of operating companies.

Former Visiting Senior Fellow and Visiting Professor. Member of the RSA, BAFTA and the Society of Authors. A Leica, a Stratocaster, a long lockdown, a heart that has been intervened on more than once. The work, in all of its forms, comes from there.

Practice
Computational expressionism, essay, photograph, music
Influences
Danto, Bourdieu, Rancière, Sontag, Barthes, Scarry, Baudrillard, Kierkegaard
Day Work
Enterprise Architecture, UK Rail
Tools
Leica Q, Squier Stratocaster, a great deal of paint and code
IV. Contact

Get in touch.

For prints, commissions, talks, the occasional review copy, or to say something I should hear. I read everything. I reply when there is something worth saying back.

Sends to richard@radams.co.uk