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Painting in the Age of Technological Reproducibility: Re-establishing sensuousness via the system of distributed touch

This praxis-led thesis investigates the becoming of an image through an algorithmic code’s encounter with traditional oil painting techniques. I use a concrete set of connections between humans and machines, but this is not an attempt to make a system that should take over traditional painting systems or compete with newer robotic ways of using the painting medium. Instead, it is an endeavour to build a system that abandons the principle of digital creationism, an alternative that does not oppose the machine and algorithms against the body or being human, but puts forward an argument for coevolution and symbiosis. By treating digital codes as spatial ready-mades shifting Duchamp’s confrontation between viewer and object to an encounter between the algorithmic code and the touch (of the hand, brush, paint, canvas, keyboard) new paintings emerge through a digital algorithmic system, developed to transform everyday digital photos into oil paintings by hand.

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More about Be

2018-ongoing PhD Painting, Royal College of Art, London

2016-2018 MA Painting, Royal College of Art, London

2003-2004 BA Fine Art, Slade School of Fine Art, University College London



Universität der Künste Berlin, guest lecture, Uncurated - Hängung und Vermittlung, Ausstellungspraxis und Präsentation


Statens Diversestipend for Kunstnere, Arts Council Norway


International Support, Office of Contemporary Art Norway


International Support, Office of Contemporary Art Norway


Southwark Park Gallery, Unruly Encounters, curated by Charlotte Bonham-Carter,  London, UK


Dyson Gallery, RCA, 2084, London


Courtyard Gallery, RCA, Brexibition, curated by Wilko Austermann and Hugo Lami, London

White City Place, I Scared My Computer, London

Dyson Gallery, RCA, There is Something Lurking in The Shadows That Might Be Interesting, curated by Linda Rocco, London

Gorvy Theater, RCA, Entangelment: The Opera, London


Hockney Gallery, RCA, Tumbnails, London


Mare Street, Hackney, London, Permanent Public Commision by Union Development.


Sundtkvartalet, Permant Public Commision by the City of Oslo, Norway

Window Box Gallery, Thing, Curated by Thale Fastvold, Oslo, Norway (solo)


Eduardo Secci Contemporary, Transformative Limits curated by Lorenzo Bruni, Italy


La Posta Foundation, The Invisible Resitance of Everyday Life I, curated by Juan Fabuel, Spain

Scaramouche, Uncurated, curated by Maria Nicolacopoulou, New York City (solo)

Sexauer, 24 h Skulptur, curated by Ursula Ströbele and Andreas Greiner, Berlin

Post Box Gallery, On Reflection – The impossibility of Representing Nothing, London


CCA Andratx Art Centre, From A to B, Spain

Post Box Gallery, What You Cannot See, London (solo)


Herzliya Museum of Contemporary Art, Numerator & Denominator, curated by Zali Gurevitch, Tsibi Geva, Dalia Levin and Tal Bechler, Israel


CCA Andratx Kunsthall, Third Thougths curated by Barry Schwabsky and Carol Szymanski, Spain

Christie's London, Multiplied Contemporary Edition Fair, London

Post Box Gallery, Anything but Black and White, London (solo)

AC Institute, Structure, New York City (solo)



Antony Gormley 'Another Time' curated by Be Andr, Mardalsfossen Art Project, Norway


From A to B, Be Andr, Florian Auer, Juliette Blightman, Michael Sailstorfer & Albrecht Schäfer curated by Be Andr, CCA Andratx Art Centre, Spain



Skulpturen ved Mardalsfossen, Eikesdalen - Det finst berre ein, Marit Wadsten, 185 pages, Blomsterhaug


24h Sculpture. Notes on Time Sculptures, Ursula Ströbele, Andreas Greiner, Jan-Philipp Sexauer, Julia Wallner, 96 pages, DISTANZ

Transformative Limits, Be Andr interviewed by Lorenzo Bruni, 80 Pages, Secci


Antony Gormley: Another Time Mardalsfossen, Eckhard Schneider, Marit Waldsten and Be Andr, 116 pages, Noah Production


What You Cannot See, Essay by Lorena Muñoz-Alonso, 12 pages, Post Box Gallery


Numerator and Denominator, Essays by Zali Gurevitch and Tsibi Geva, 130 pages, Herzliya Museum of Contemporary Art


Anything but Black and White, Essay by Barry Schwabsky, 34 pages, Post Box Gallery


Sarah Royce-Greensil, How jewllery designer Carolina Bucci took a Grade II listed London townhouse into the future, The Telegraph, UK, 6th May 2018

Lahey Dronfield, Jonathan, ...and a Feeling of &, Yes & No Magazine No 1, 2017

Isabel Perez, Be Andr y Regina de Miguel Contra el olvido, Reseña en Levante EMV, Spain, 16th January 2015

Elena Magini, Transformative Limits - review, Lungarn Arte, Italy, 1st February 2015

Luisa Ausenda, Transformative Limits - review, Atpdiary, Italy, 26th January 2015

Gormley Mardalsfossen – The 1000 - London's most influential people 2014 , The Evening Standard, UK, 17th October 2014

Skulpturen blir stående i fosserøyken, Aura Avis, Norway, 5th September 2014

Vera Henriksen, Se mannen i fossen, Romsdals Budstikke, Norway, 26th June 2014

Magnus Peter Harnes, Denne mannen skal trekket turister til Eikesdalen, NRK TV, Norway, 20th June 2014

Elin Høstmark, Another Time i fossen, Driva Avis, Norway, 17th June 2014

Petter Løken, Er blant Norges største attraksjoner..., Dagbladet, Norway, 11th June 2014

Edwina Ings-Chambers, A gem of a place, The Sunday Times, UK, 4th November 2012 (with illustration)

Angela Levin, 'Between Heaven and Earth – New exhibition at Herzliya Museum.', Midnight East, Israel, 30 June 2011 (with illustration)

Marilena Pirrelli and Chiara Zampetti. La Carriera d'artista? Una rete per il successo, Art Economy,Il sole 24, Italy, 7th August 2010 (with illustration)

Marilena Pirrelli, Collezione Lehman da 30 milioni di dollari, Published by Il Sole 24, Italy, 24th January 2009 (with illustration)

This research is supported by Winsor & Newton