Letter B

Heliya Baghaeyan

This artwork explores the interaction between mathematical concepts and human identity in the digital world. Using mathematical patterns and matrices, I aim to represent the complexity of digital spaces and their impact on human identity. Instead of relying on specific cultural symbols, the piece focuses on human characteristics and individual identity, which, when combined with mathematical codes and digital elements, create a dynamic and evolving space.

The matrix patterns and random codes represent data networks and digital interactions, illustrating the relationship between humans and mathematical systems in the digital realm. The artwork emphasizes the importance of preserving human identity in the digital age, while also aligning it with technological advancements.

My goal with this piece is to show how human identity and individual values can be maintained alongside the digital world and mathematical patterns. Rather than portraying a conflict, this artwork highlights the harmonious interaction between humanity and technology, emphasizing the potential for coexistence in the modern, information-driven world.

Lilia Bakanova

This work visualizes flow fields and boundary layers—systems used to model how fluids move and interact with surfaces. Rather than simulating flow, my textile process enacts its aftermath, based on the case of the Aral Sea in Central Asia—once the world’s fourth-largest inland lake, now largely vanished due to Soviet irrigation projects. Its disappearance left behind not only physical traces—ripples, sediments, and salt—but also distortions in culture, ecology, and collective memory. Through felting several layers of silk with occasional dense clusters of cotton (both materials were grown with the water that could have fed the Aral Sea), I create dried sea membranes, algae skins, and evaporated shorelines.  These forms reflect how order and subtle patterns emerge within apparent collapse—echoing how mathematical structures surface in noisy or dissipative systems. Veining, diffusion, and rippling are not merely aesthetic; they embody material boundary effects, visualizing the invisible dynamics of loss and transformation. Where fluid dynamics seeks to capture flow in motion, my work holds stillness, giving form to what once moved but no longer can. Instead of modelling the system, I reveal its residue—where movement faded, and patterns dissolved into layered stillness.

Zenon Balcer

This series of graphics is created at the intersection of art and mathematics. Visual structures emerge from the process of layering and blending, where stochastic elements play a key role. Random yet non-chaotic changes lead to the formation of unexpected but harmonious patterns. Abstract, new forms result from the interference of multiple perspectives of the same object, losing its original meaning and transforming it into a new, dynamic composition.

As in mathematical models of diffusion, seemingly random structures reveal an underlying logic and order. This process has become a creative force for me, allowing me to transcend the boundaries of realism and explore a new visual space.

These works are not merely a formal experiment—their source lies in real events captured through photography. They present an alternative vision of the world, where light and space pulsate within a dynamic, multilayered structure. This series invites reflection on perception, the subjectivity of seeing, and the fluid boundary between reality and imagination.

Temitope Bamgbose

These pieces are created to show how fractal geometry can produce swirling patterns that look almost alive. The first artwork is in black and white, while the second explodes with color. I used repeated shapes and layering to illustrate how complex forms can arise from simple rules. This ties into ideas from chaos theory, where tiny changes can lead to significant differences in the final design.

The swirling shapes highlight the balance between structure and randomness, giving the art a sense of movement. By focusing on iterative patterns, I wanted to capture the mysterious side of mathematics, the part that can simultaneously look orderly and unpredictable. These pieces fit the “anomalous mathematical patterns” theme because they offer a fresh spin on traditional fractal art. I hope they remind viewers that math isn’t just about numbers, it can also spark creativity and wonder.

Laurel Bay (Entry 1)

Title: Airborne Fabrics and Ants: A Dance of Chaos

Light and colourful fabrics float through the air, swirling gracefully as if caught in a gentle, chaotic breeze. Red ants climb and scatter over the folds, introducing a sense of unpredictability and structured movement. The flowing, translucent textures represent fluid dynamics, while the ants signify emergent order within the seeming randomness. The piece highlights how small but organized elements can coexist with vast, chaotic patterns, much like turbulent systems where order arises from disorder.

Laurel Bay (Entry 2)

Title: Cosmic Cone: Wormhole Delight

This piece presents an ice-cream cone merging with the cosmos, where the ice cream itself transforms into a swirling wormhole, symbolizing the intersection of the mundane and the cosmic. The piece explores the concept of anomalous spatial patterns, where familiar shapes dissolve into unexpected, mathematically chaotic formations. I invite viewers to contemplate the unexpected connections between everyday life and the universe.

Laurel Bay (Entry 3)

Title: Kaleidoscope of Crystals: Aerial Anomaly

This abstract piece resembles a kaleidoscope or a crystalline structure seen from above. Strings of geometric shapes interlace, the colours glisten like fractured light through crystal shards. The work evokes the beauty of natural crystalline formations that simultaneously follow mathematical precision and exhibit spontaneous irregularities.

Franklyn Beckford 

Title: A Sculptural Investigation

This sculptural work explores the mathematical principles governing the inflation of balloons and their relation to anomalous diffusion. By inflating balloons of varying sizes, I have engaged with the formula for pressure-volume expansion:

PV = nRT

where  is pressure,  is volume,  is the amount of gas,  is the ideal gas constant, and  is temperature. The non-uniform expansion of each balloon introduces surface distortions dictated by material elasticity, forming unpredictable topographies—analogous to stochastic diffusion equations such as:

\frac{\partial P(x,t)}{\partial t} = D \nabla^\alpha P(x,t)

where  is the diffusion coefficient and  represents anomalous scaling. These inflated forms, once cast in cotton yarn, preserve the chaotic yet mathematically governed deformations of the latex membrane.

By fusing multiple casts together, the sculpture captures an interplay of expansion forces, constrained diffusion, and structural memory of my gases made up of oxygen, nitrogen and carbon dioxide in varying scales of volumes. The final form is an equilibrium between order and organic randomness, reflecting how natural systems balance deterministic laws with stochastic behavior. The work materializes invisible physical forces into a tangible, dynamic composition—transforming mathematical abstraction into sculptural reality. That also conjures up a seemingly undiscovered  new species or perhaps the decomposing.

Henrique Biasi

Dye Diffusion in Water

Diffusion is an everyday phenomenon that conceals complex mathematical principles. This photograph captures the moment when dye is introduced into water, forming organic, fractal-like patterns governed by probability and molecular motion. The intricate swirls reflect an interplay of deterministic physics and stochastic behavior, mirroring the unpredictable nature of many real-world mathematical systems. By freezing this transient process, the image makes visible the unseen forces that shape our world at a microscopic level.

Inna Birillo

Title: Echo of Infinity

It is a visual symphony of numbers and forms, where the boundaries of reality dissolve into mathematical chaos. Lines, like traces of irrational numbers, strive for infinity but never reach it. At the center of the painting stands a tree in apple blossom—a symbol of renewal, hope, and unwavering faith in the future. 

This work transforms mathematics into art and art into mathematics, reminding us of the eternal struggle between order and chaos, destruction and rebirth. A stream of numbers represents the infinity of waiting. Some are sharp and clear, while others are blurred, elusive, lost in time. The connection between chaos and order is reflected through mathematical formulas and infinity symbols, emerging from the shadows of the past and the future. This interplay echoes the principles of stochastic systems for anomalous diffusion, where unpredictability and fluctuations shape the movement of particles in complex environments. Just like in such systems, time in the painting does not flow uniformly—it disperses, stretches, and folds, creating a sense of uncertainty and prolonged anticipation.

Amirhosien Oruji Borujeni

According to Plato, symmetry is the standard of beauty, and symmetry is fundamentally a transformation, meaning that the subject in question, after being transformed, should appear just as it did before. Therefore, the transformation in question is considered a symmetry. However, symmetry does not imply equality, similarity, or likeness; rather, differences and contrasts are also an integral part of it, and together they achieve balance. Symmetry exists in fundamental shapes such as squares, circles, triangles, and rectangles, and our world, along with everything we perceive through our sense of sight, is a combination of these shapes, lines, and angles. In my works, I aimed to maintain balance despite the contrasts, which is why I used geometric art to create my pieces.

James Bristow (Entry 1)

WE (connection) I

Screenprint on canvas, diptych, 70 x 47 cm

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The Seneca phrase “we are waves of the same sea” informs a recurring theme in my work; which I abstract into geometric forms addressing inequality and division.

Working in silkscreen printmaking, my process involves actively encouraging happenstance, allowing deviation from mathematical precision. I print like an expressionist might use a brush, allowing randomness and pure intuition to guide the squeegee across the screen - sometimes a light flick, other times applying more pressure and force. 

This results in geometric, abstract, expressionist works created through unexpected one-off movements, outweighing intended outcomes or notions of perfection. Visually, the work explores a tension between the order and structure of the geometry, versus the instinctive, human imperfections and deviations that make each piece unique.

James Bristow (Entry 2)

WE (majority-minority) II

Screenprint on canvas, 70 x 90cm

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The Seneca phrase “we are waves of the same sea” informs a recurring theme in my work; which I abstract into geometric forms addressing inequality and division.

Working in silkscreen printmaking, my process involves actively encouraging happenstance, allowing deviation from mathematical precision. I print like an expressionist might use a brush, allowing randomness and pure intuition to guide the squeegee across the screen - sometimes a light flick, other times applying more pressure and force. 

This results in geometric, abstract, expressionist works created through unexpected one-off movements, outweighing intended outcomes or notions of perfection. Visually, the work explores a tension between the order and structure of the geometry, versus the instinctive, human imperfections and deviations that make each piece unique.