Letter S

Sharareh Sabaghpour

In this artwork, I have drawn inspiration from the geometric structures of mandalas. Mandalas are rich in mathematical elements such as lines, shapes, angles, symmetry, and proportion. However, instead of maintaining their radial symmetry, I have aimed to depict dynamism and transformation.

To achieve this, I arranged repeating geometric patterns around a central axis. However, this axis is not fixed; rather, it is in a state of movement and change, creating an asymmetric balance. Alongside this geometric order, I have incorporated free forms and curved branches to evoke the natural patterns of continuous growth and evolution.

The use of the blue spectrum, contrasted against the warm yellows and oranges of the background, adds a sense of calm to the composition. Ultimately, this piece creates a space between order and chaos, reflecting the dynamism, systematic transformations, and interactions among different natural patterns.

Sodabeh Safri

These works begin with mathematical calculations, take shape through geometry, and transform into a poetic language; a language woven into the fabric of Iranian art, where within the geometry of the patterns, an endless dance is set in motion. 

Here, art and mathematics intertwine; circles and lines narrate a story of infinity, as if the patterns that once breathed life in ancient art have now been reborn in a new context. In this innovative fusion, mathematical patterns not only define order but also the essence of beauty; it is as if the geometric designs manifest on the canvas as cosmic patterns, in harmony with the viewer's mind. 

Random walks flow through these geometric shapes. The interweaving of authentic Iranian art with the fundamental concepts of mathematics not only reflects a rich heritage but also looks toward a future where the boundaries between geometry and art merge more than ever before. These paintings are the creative embodiment of patterns: where geometry becomes poetry, and probability transforms into design.

Zahra Akhavan Saraf

This abstract 3D landscape visualizes the chaotic and unpredictable behavior of anomalous diffusion within a sci-fi universe. Particles scatter in non-Euclidean space, forming complex, fractal-like structures that defy classical physics. These features directly reference the concepts of stochastic systems and anomalous diffusion patterns, where particle behavior does not follow predictable laws but moves in a completely random and non-linear manner.

The non-Euclidean space in which the particles move refers to curved spaces and non-metric geometry, which are applied in anomalous diffusion models and complex systems. Unlike classical models, where particle movement is random and eventually reaches equilibrium, anomalous diffusion takes much longer to stabilize, and the paths of the particles are entirely unpredictable.

The fractal structures in the image represent the self-organizing and chaotic nature of complex systems. These patterns are actually a depiction of nonlinear dynamical systems that exhibit chaotic behavior, never reaching a steady or predictable state. The lighting contrasts between neon and shadow highlight the instability and unpredictable nature of these systems, perfectly illustrating their relationship to chaos theory and stochastic systems.

Lula Sarnia ( Entry 1)

"Shining New Light on the Structure" captures the interplay between structure and randomness, inspired by the mathematical concepts of anomalous diffusion. Geometric forms emerge from deep blues and greens, intersected by luminous beams that symbolize the unpredictable pathways of particles navigating constraints. The delicate scattering of dots evokes motion through structured spaces, reflecting the hidden forces that guide diffusion in nature, from migrating animals to microscopic motion. This piece invites viewers to explore the balance between order and uncertainty, shedding light on the invisible patterns that shape our world.

Lula Sarnia (Entry 2)

This abstract geometric composition explores the mathematics of anomalous diffusion, where movement deviates from predictable patterns due to memory effects or structural constraints. Layered grids and luminous pathways suggest stochastic motion while swirling textures hint at dynamic yet constrained transitions. The structured disorder mirrors how particles or microbes, through space, are influenced by past trajectories and environmental barriers. "Fine Fettle" reflects the hidden order within randomness, capturing the delicate interplay between chaos and structure in complex systems.

Jade Scardham

This work visualises the chaotic beauty of anomalous diffusion through layered patterns, glowing particle trails and fluid colour. It explores the space between randomness and structure.

Karin Schösser

These piece are made by making hand - formed clay models from which I make plaster moulds.

I can then cast the shape using casting slip to repeat the shape.

The work is then biscuit fired after which it can be glazed using my glazes I have developed.  The first glaze firing was quite precise and done by spraying the glaze, creating a circle within the shape. I then placed hardened glaze particles on the pieces and fired them again, letting the glaze particles react with the glazes underneath as well as the curved shaped of the pieces itself, flowing in a manner which is anticipated but at the same time unknown.  The precision achieved by the previous glazing is disrupted by this randomness.

Richard Scott

This is a two-part drawing (acrylic on paper), titled 'Probability gradient'. It is a simple 4-colour pattern, filtered through a mapping of probabilistic space (charting the progression from an 84% chance of adherence to the pattern on the top left down to a 40% chance on the bottom right). It is part of my ongoing practice-based research focused on the threshold of pattern perception.

The perceptual effect of this drawing is that of a gradually disappearing pattern, from a state of relative clarity at the top left to a state of apparent noise at the bottom right, where only a vague image of the pattern’s contour remains.

This piece, and other drawings like it, seeks to illuminate the interplay between probability and perception. It brings certain questions to the surface: how does my perception of the areas where the underlying pattern is more clearly visible impact my perception of the areas where it is more hidden? Would the structure of the second part of the drawing be perceived as more or less random without the context of the first part? Can the context of a pattern serve to communicate the impression of apparent randomness better than randomness alone?

Katherine Seaton

Title: Corner Percolation

Corner percolation is a mathematical constrained random walk model proposed by Bálint Tóth and investigated by Gábor Pete in 2008. More recently, it has been noted that the configurations of paths and closed loops arising in corner percolation are found in the centuries-old domestic stitching form hitomezashi. Whether right-angled corners are placed on the vertices of a square lattice in the mind of a twenty-first century mathematician, or lines of horizontal and vertical running stitches interact tangibly when sewn with a needle as in Edo-period Japan, the potential patterns are the same. Traditionally, lines of stitching in hitomezashi are deliberately aligned or offset from their neighbours to create designs featuring small motifs repeated periodically. However, in this piece of mathematical fibre art the parity of the digits of pi has been used to place the lines of stitching in a random configuration. The result is a design comprised of closed loops of various sizes as well as some paths of stitches that begin and end on an edge of the worked area. One such path has been highlighted for the eye in scarletwork. 

Matteo Giuseppe Secone

"Metastasis" is an abstract artwork made from a diffusion process into bond paper and decorated with gold leaf. Its title means, from Greek, a rapid transformation, a transition stage. 

The piece reflects the personal journey of the artist, who recently relocated from Italy to Denmark to pursue scientific studies at DTU. After months of adjustment, it marks a turning point: a growing sense of belonging in a new environment.

The process began with an abstract drawing inspired by the colors of the Baltic Sea. Working with scrap materials from DTU’s print workshop, the artist explored the unique properties of bond paper: its ability to capture and fixate forms during ink diffusion. When treated with water, the colors layer upon one another instead of blending, creating a visual record of time and movement, like a long-exposure "photograph" of entropy in action.

It is an unpredictable process due to the many variables in play and the result is a spontaneous yet intricate stain, formed by concentric waves of blue, green, brown, and gold (manually added by the artist in the end). Measuring 24 × 28 cm, Metastasis is a visual meditation on impermanence and the beauty that can emerge from uncertainty.

Yasamin Seif

Title: Anomalous Patterns: A Visual Exploration of Stochastic Systems

These artworks delve into the profound realm of anomalous mathematical patterns and stochastic systems, drawing inspiration from the interplay of randomness and determinism within complex processes.

The paintings reflect the erratic yet beautiful nature of diffusive processes, capturing the fractal geometry inherent in anomalous diffusion. Swirling forms and gradient transitions symbolize Levy flights and fractional Brownian motion, contrasting areas of intense activity with zones of tranquility. This representation mirrors how particles move unpredictably in irregular media.

Additionally, the works explore interacting particle systems and random walks on geometric networks, extending the exploration into the dynamic behavior of interacting entities and their emergent properties, such as clustering and synchronization. Layered textures and converging patterns represent the geometric irregularities and constraints that influence movement on complex surfaces, offering insight into the intricate behaviors of systems driven by randomness.

The aim is to bridge mathematics and art by transforming stochastic concepts into visual narratives. Through this fusion, the artworks highlight how mathematical frameworks describe the unpredictability of nature, revealing the underlying order within chaotic systems.

The pieces are created with acrylic on canvas, measuring 100 by 70 centimeters, offering a vibrant and textured medium to explore the beauty and complexity of mathematical abstraction.

Shreya Seshadri

Acapella, defined as singing without any instrumental accompaniment but still creating the same effect, depends a whole lot on making up harmonies. The members of a group may be divided into groups depending on their voice ranges: bass, mains, thirds, fifths and leads. Each voice produces a higher frequency wave than you may see naturally in sound, and when multiple such waves come together, they may either reinforce or cancel each other out. These are constructive and destructive wave interferences. Whether or not some harmonies work out depends on the mathematics behind these interferences: some frequencies will have a higher chance of being amplified if they have a good pitch distribution. Performing a Fourier analysis, which breaks down complex sound waves into their individual parts, along with understanding probability distribution helps us understand which harmonies dominate according to the particular pitches they combine (i.e. thirds and fifths, bass and fifths, etc.) and which do not. There is a lot of math that goes into simply singing intuitively and building harmonies while performing acapella-- the final result is a probabilistically determined structure that is shaped by wave interactions. The image shows this interaction of waves in a structure similar to a stadium concert, where such performances take place.

Assaya Ulviyya Seyidova

"Fractured Wholeness" visualizes anomalous diffusion, where movement deviates from classical random walks. The fragmented faces emerge like particles trapped in a medium with memory effects, their appearance and disappearance shaped by past states. They do not diffuse uniformly but cluster unpredictably, reflecting subdiffusion, where motion is slowed by environmental interactions.

The composition suggests nonlocal temporal correlations—past influences linger, shaping the structure of perception. The faces appear suspended in transition, neither fully formed nor entirely dissolved, mirroring stochastic processes where diffusion is constrained by hidden variables. Their fractal nature reinforces this instability: from a distance, they merge into a whole, yet upon closer inspection, they fragment, echoing how diffusion processes persist across scales.

The visual rhythm of the work evokes intermittent motion, where diffusion occurs in bursts rather than at a steady rate. Areas of density contrast with voids, suggesting a system where some elements remain confined while others propagate freely. This reflects heterogeneous diffusion landscapes, where motion is dictated by localized conditions rather than uniform probabilities.

The viewer’s gaze, drifting across the piece, itself follows an anomalous trajectory, pausing at different points, constructing unique patterns of recognition. This interplay of randomness and structure mirrors diffusion not just in physical systems, but in cognition—where perception, memory, and meaning emerge unpredictably yet remain deeply interconnected. 

Maryam Shahrezaie

Frolik Algorithm is a form-generation algorithm developed in 3DsMax. It’s a kind of particle-system tool consists of;

Force vectors in XYZ direction, which make particles to travel throughout the 3D space.

Noise patterns, such as Perlin noise, which affect vectors magnitude & direction, and

Collision Function which confines particle growth within a boundary (in this case a conical geometry).

The algorithm runs over a specific time span, defined by time configuration setting tool in 3Dsmax. 

For running the algorithm, a number of initial particles should be set and positioned on a 2D plane defined as Emitter Plane in the algorithm.

Finally, when all these settings are done, the initial particles start travelling from the emitter plane to any direction affected by force vectors, throughout the boundary space.

Each particle’s track line turns into a spline and at the same time, a 3D-Mesher component converts particles into 3D voxels. As a result these growing splines interact, fuse together and form anomalous spatial objects.

Lungile Shange

Title: Chaotic Dust in Motion

The artwork represents particles in random motion, inspired by the mathematical principles of Brownian motion. Each square follows an unpredictable path, mirroring the irregularity and complexity of particle trajectories caused by collisions with surrounding molecules.

Ai.Shapeshifter (Entry 1)

"The Universal Waves" embodies the intricate dance of movement across a vast and textured space. The artwork's flowing, undulating forms evoke the unpredictable paths of particles undergoing random walks, each contour hinting at trajectories shaped by chance, boundary effects, and environmental heterogeneity, with high-density zones where movement is constrained, and open expanses that invite free motion.

In this work, the creative visualisation assisted by AI meets the mathematical, soft transitions between shades reflect the probabilistic smoothness of diffusion, while abrupt curvatures symbolize constraints imposed by reflections, feedback loops, or environmental barriers. 

Ai.Shapeshifter (Entry 2)

The generative AI visual "Safe Travels" evokes the transition of particles or agents moving through different phases of space. The dispersed black and blue dots, floating and fragmenting as they cross an unseen threshold, mirror the mathematical principles of diffusion and anomalous diffusion. Two spaces, an opened, lighter one, where particles move according to classical random principles and a darker one, where laws are altered, and their core follows, too, much like how adaptive organisms adjust their motion in response to terrain or resources.

In this piece, the viewer is invited to consider movement as a dynamic interaction between randomness and constraint, freedom and structure, a creative parallel to the mathematical and physical realities of diffusion in complex systems.

Ai.Shapeshifter (Entry 3)

The generative AI visual “Mirror Imaging” captures the idea of diffusion and its anomalous variations through an interplay of form and structure. At the center, the fragmented yet expanding patterns on the circular surface evoke the mathematical essence of a process, seemingly random yet governed by underlying principles. The concept is also connected to the cognitive bias.

This irregular dispersion mirrors processes seen in biology and physics, such as polymer conformations or microbial locomotion, where past interactions shape future trajectories.

The figure itself, devoid of defined facial features, acts as both an absorbing and reflective boundary, reinforcing the idea that movement and transformation occur in response to constraints and feedback from the surrounding space.

Seyed Mehrdad Sharifi (Entry 1)

This image features a structured grid of rectangular boxes, forming a geometric and mathematical pattern. However, certain areas of the arrangement are disrupted, introducing an element of disorder—suggesting a dynamic system in transition. The presence of individuals moving the boxes emphasizes the process of distribution, transformation, and reconfiguration. This composition illustrates the interplay between structured order and random variations, reminiscent of complex systems studied in mathematics and physics. 

Seyed Mehrdad Sharifi (Entry 2)

 This image illustrates the interaction between order and chaos. The tree at the center symbolizes stability and structure, while the birds dispersing from it represent dynamism and randomness. This contrast between stillness and motion evokes the concept of dynamic systems. The collective motion of the birds resembles self-organization behavior in complex systems, which is studied in mathematical models and network theory. The gradual transition of the tree’s structure into the scattered pattern of the birds beautifully reflects the concept of ambiguity. 

Seyed Mehrdad Sharifi (Entry 3)

In this image, the shapes are arranged to reflect a mathematical interaction. The positioning of the shapes resembles matrices and linear transformations in linear algebra. The repetition and symmetry in the image convey a sense of dynamism and order, reminiscent of dynamic systems and group theory. 

Vsevolod Sharko (Entry 1)

The watercolour piece submitted for the competition, on the one hand, illustrates a particular case of the diffusion anomalies formation process as a result of interaction between the flow particles and the heterogeneity of the medium. It is easy to see how, using the conventional example of sakura petals, one can observe the creation of anomalous structures in the process of diffusion.

On the other hand, the presented work shows the beauty of scientific research. And also, reflects the three main mechanisms of Human adaptation to the chaos surrounding the humanity's existence:

- scientific and technical approach, which provides the means of understanding the properties of the surrounding World and the mechanisms for its material change;

- the artistic mechanism, which allows the human psyche to cope with the surrounding entropy by transforming the indefinite into the figurative;

- and the search for inner spirituality, that brings strength for decision-making and implementation of activities.

I have been working as a designer and artist for many years, but I am a robotics engineer by education, graduated from the Faculty of Physics and Technology of Dnipro National University. As such, I am considerably interested in observing the processes of scientific research.

Vsevolod Sharko (Entry 2)

Video https://drive.google.com/file/d/1jqsG2uDrwXlbJxxBjeL0Q9cEsJ2K_z9i/view?usp=sharing

The primordial gas Universe evolved from a stochastic state to a state where large-scale anomalous inhomogeneities in the general diffusion of gas increased in response to gravitational attraction and became mostly irregular, gradually reaching densities sufficient to condense into large expanses of matter that then formed galaxies.

There is greatness and incredible beauty in the ability of mathematics to study and explain processes on scales incomparable to humans in terms of both size and time.

Mansee Sharma

My artwork is a visual interpretation of Graham’s number, a mind-bending mathematical concept that defies human comprehension. Using a 5x5 inch canvas and acrylic paints, I have attempted to capture the essence of its enormity through color and structure. The painting features a spiral composed of blue, green, white, purple, and red hues, symbolizing the chaotic yet structured nature of large-scale mathematics. At the heart of the spiral, I have inscribed “G64,” representing the final step in the recursive process that defines Graham’s number. Surrounding this focal point are the last 200 known digits of Graham’s number, emphasizing the paradox of knowing so little about an incomprehensibly large quantity.

The spiral serves as both a metaphor for infinity and a visual pathway that draws the viewer into the depths of numerical abstraction. The color choices reflect a balance between logic and creativity, mirroring the intersection of mathematics and art. By compressing such an enormous concept into a small canvas, the painting highlights the tension between the finite and the infinite—an attempt to grasp the ungraspable. This piece is not just an artistic representation but an invitation to ponder the limits of human understanding

Elena Shilova

The painting "Smoke" presents an intriguing visual analogy to the concept of anomalous diffusion in stochastic systems.

In the foreground, we see a distinctly yellow-green element that can be interpreted as a starting point, analogous to a charge in a particle system. The background landscape abstraction, with its swirls and clouds of a blue-black palette, symbolizes the medium in which anomalous diffusion occurs. The structures, creating an impression of movement and change, effectively reflect the concept of fluctuating particle trajectories that deviate from typical normal behavior.

The clouds of smoke rising upward embody randomness and uncertainty in diffusion processes. Their structure can be viewed as a graphical expression of nonlinear interactions characteristic of complex systems. While classical diffusion assumes a uniform distribution of particles, anomalous diffusion includes events where particles may move faster or slower than expected.

Thus, the painting "Smoke" becomes a metaphor for exploring the dynamics of stochastic processes, where uncertainty and randomness are conveyed through expressive abstract forms and color transitions. This creates a profound interaction between mathematical concepts and artistic perception, inviting the viewer to contemplate chaos and order in the world around us.

Kristina Shterengas

My oil paintings explore the movement in regular and irregular diffusion through random walks. The paintings outline the freedom with which particles roam but within order of the underlying statistical principle. Making the difference between two diffusions clear to the layman.

Typical diffusion, controlled by Brownian motion, is depicted by smooth, more even, spread out over time. The work depicting anomalous diffusion goes against these norms; moving faster or slower than would be predicted by traditional models. This is highlighted through the more chaotic nature of the design. Plots of these trajectories—Lévy flights, subdiffusive patterns—served as the basis of my pieces, and were used for the specific mathematical correlation introduced to describe each piece.

Using oil paint allowed me to translate the mathematically elegant but uncertain of these paths onto canvas. Color also had a significant role in shaping these works. I used varying colors, achieved in other contour plots to detail the spatial organization of diffusion. 

The result is a performance that blends mathematical abstraction with kinetic motion, blurring the line between science and art and bringing the difference between regular and anomalous diffusion to a broad audience.

Gurnam Singh (Entry 1)

Title: Critical Threshold

This sculpture is an expression of constrained chaos—a physical manifestation of energy spiralling out of balance. Inspired by the unpredictable behaviour of stochastic systems and anomalous diffusion, it embodies motion, intensity, and complexity. Its form echoes a vortex or tornado, twisting violently around a suspended central sphere that appears caught, overwhelmed, and under pressure.

The copper wire, once tightly bound, explodes outward in spirals that become increasingly wild and fragmented—evoking the nonlinear spread of particles and the turbulence of thought, data, or emotion. Fibre optic strands radiate erratically, overpowering the structure with luminous force. These elements represent a diffusion process that defies symmetry, refusing to settle into equilibrium.

At the centre, the polished sphere—symbolising the universe, the mind, or Newton’s perfect object—is visually and conceptually trapped. It is surrounded by conflicting forces, highlighting the tension between order and disorder, control and entropy.

The sculpture invites the viewer to feel the instability of complex systems. It reflects a world where balance is momentary, where prediction fails, and where structure is not built but constantly reshaped. This is a study of form in flux—an artistic interpretation of mathematical systems pushed beyond the threshold of control.

Gurnam Singh (Entry 2)

Video https://drive.google.com/file/d/1kQG6ytrBOksbyKwZK8KemsRmHM6voBtQ/view?usp=sharing

Title: (AI)+ Anomalous/Bloom

The sculpture embodies the delicate interplay between chaos and order, reflecting stochastic systems and anomalous diffusion. It explores how energy, ideas, and influence spread unpredictably, balancing randomness with underlying structure.

At its core, a central source symbolizes the origin of particles, energy, and knowledge—the seed from which all movement and transformation emerge. Spiralling copper wires extend outward, representing both the diffusion of information and a stable framework upon which mathematical inquiry unfolds. This juxtaposition of flux and form mirrors the nature of scientific discovery—an evolving system expanding into the unknown, yet grounded in fundamental principles.

Mirrored spheres emanate from the source, embodying mass and gravitational pull. One sphere, positioned at a tipping point, evokes Newton’s falling apple—an inflection of insight, introducing both visual tension and conceptual dynamism.

The circular base signifies continuity and timelessness, representing the infinite nature of the cosmos. Rising above this, fibre optic strands and a modern abstract steel face represent artificial intelligence—unbound by gravity or physical constraint—signalling the next frontier of knowledge.

This fusion of abstract and representational elements compels exploration, inviting viewers to engage with the unpredictable beauty of mathematical systems through the lens of art.

Gurnam Singh (Entry 3)

Title: Fractal Equilibrium

This sculpture explores the relationship between time, structure, and the diffusion of thought and information. Set on a long rectangular base—symbolising time as a linear dimension—it unfolds outward from a central source, representing the present moment: balanced, suspended, and unshaken. A central sphere hovers above, poised between symmetry and gravity. It may be interpreted as Newton’s apple, the universe itself, or a point of insight—an origin of awareness.

To the left, copper wires branch outward in a controlled fractal pattern based on da Vinci’s branching ratio, where each new segment is approximately 35% to 60% the thickness of the one before it. This reflects the self-similar geometry found in tree growth, vascular networks, and natural diffusion systems—mirroring how memory and influence fade and fragment over time. It represents the past: structured yet imperfect—anomalous in its uneven spread.

To the right, fibre optic strands arc forward in luminous circular patterns—suggesting the future as probabilistic, radiant, and emergent. These fractal flows evoke forward-diffusing systems and stochastic uncertainty.

The sculpture as a whole becomes a meditation on balance, symmetry, and time-asymmetry—bridging artistic intuition with mathematical theory, and revealing how structure evolves from a single point of origin.

Juga Singh

Video https://drive.google.com/file/d/1TVT_hOfwW5P-hKo5Nq3kNuYkvoOg2HFi/view?usp=sharing

Video https://drive.google.com/file/d/1--WSWup2DQ4mB2Y831FOygAEHbQrZkP3/view?usp=sharing

Video https://drive.google.com/file/d/1ul3jGpKllIXDk2MS7Iy3-sijKRnMZ1if/view?usp=sharing

Title: Anomalous Monogram – Structured Noise in Negative Space

This artwork deconstructs the Isaac Newton Institute’s monogram into four distinct shape classes, derived from the interplay of positive and negative space. These classes—two vertical splits, a diagonal division at 60 degrees, and a wholly negative shape—are systematically arranged according to a 2D Perlin noise field, a mathematical model of structured randomness widely used in physics, graphics, and natural simulations.

Evolving at 42 frames, one per second—a nod to both stochastic processes and deep cosmic truths—the fragmented monogram elements shift dynamically, mimicking anomalous diffusion where patterns emerge unpredictably yet within constrained rules.

Overlaid onto two historical public-domain photographs—Full Moon (1885) by James Nasmyth & James Hall Carpenter, and Optical Illusion (1850s, unknown artist)—the work explores the tension between what is observed and what is obscured. The positive and negative spaces do not reveal the full image at once; instead, the whole can only be reconstructed through repeated viewing and perceptual inference, much like how stochastic systems require multiple observations to uncover underlying structures.

By blending mathematical logic, perceptual ambiguity, and historical imagery, this piece offers a visual metaphor for anomalous mathematical patterns—structured randomness emerging from chaos, only fully seen through repeated trials.

Mary Kate Skitka

Video https://drive.google.com/file/d/1quzveUudC2jOB34zwdiEtnE-b2dU2tSw/view?usp=sharing

Particle Landscapes is an exploration of magical realism through abstract generative landscapes. By harnessing particle simulations and fluid dynamics, I create visuals that feel both fantastical and deeply emotive.

Skanda Ravindra

I have tried to show the interplay of the multitude of probabilities as per the probability theory in my own artistic manner in other to get the point across that there is a galaxy of whatever may come as long as it follows the general theory of probabilities.

Soraya Mojtahed Sistani

The image is a combination of mathematical patterns and graphic design, showcasing elements that are entirely random yet visually structured. At the center, there is a fractal structure inspired by the Mandelbrot Set, which gracefully fades outward towards the edges. The outer layers are filled with lines inspired by processes like Random Walk, which beautifully combine order and chaos.

The colors are a blend of turquoise, orange, and purple tones, creating a striking contrast that draws the viewer’s gaze toward the heart of the image. Certain parts of the image feature patterns resembling viral movements or Anomalous Diffusion systems, which give a sense of dynamic flow. In specific regions, geometric shapes such as triangles, rhombuses, and circles are scattered in a mathematically harmonious manner but with random sizes, adding more visual appeal.

The image is designed to convey a precise message about complex structures and unusual patterns to mathematicians, while also engaging a general audience with its beauty and aesthetic allure. This design forms a bridge between art and science, transforming abstract mathematical concepts into a visually captivating masterpiece.

Penélope Siwela

Title: The Order of the Chaos

As a multidisciplinary artist, I am focusing on abstract watercolor portraits over the next year. This piece, The Order of the Chaos, highlights the founding fathers of stochastic processes—the Order—whose work laid the foundation for understanding diffusion. These founding father's came down to: Adolf Fick, Albert Einstein, Joseph B. Keller, Andrey Kolmogorov and Paul Langevin.

Watercolor serves as both the artistic and mathematical medium, embodying anomalous diffusion through its unpredictable nature—the Chaos. The way pigment spreads, stains, and shifts unpredictably mirrors the complex behaviors of diffusion beyond classical theory. I incorporated Fick’s Second Law and a graph, accentuated in gold leaf, to emphasize the structured principles that enabled brilliant scientists in the SSD program to expand on these ideas.

Throughout any discipline, I believe in honoring those who came before us and the labour of their contributions. By bridging art and science, I hope that this piece serves as both a tribute and an exploration—bringing the patterns of mathematics back into art through the very medium that embodies its unpredictability.

Cam Smith

I walked around Seattle with a video camera recording people on the streets. Fragments is a digital collage project where I combined the faces of many people into composite images. I took each face, chopped it up into tiny fragments, and reassembled the pieces into composite frames. This work was inspired by the way technology companies create mathematical models of human behavior from millions of individuals, creating composites that only have a fuzzy connection with reality. 

Daria Solar

Video https://drive.google.com/file/d/1djktie7laN0yzMcv7PL9dOu-5W1cVUZD/view?usp=sharing

Title: To Paint the Atom – Triptych “Melody of Lights”

This triptych is the result of the artist's extraordinary journey to the heart of Poland’s only atomic reactor – “Maria” in Świerk. Based on original photographs taken on-site, the paintings depict the distorted reflection of light on the surface of reactor water. What may appear at first glance as an abstract play of form and color, is in fact shaped by the physical phenomenon of the Cerenkov effect — a luminous glow caused by charged particles moving faster than light in water. This visual anomaly is a real-life trace of subatomic activity, offering a rare window into the stochastic nature of nuclear processes.

By capturing this radiation-induced distortion, the artist translates complex patterns of diffusion and transformation into poetic visual language. The subtle blue glow, refracted and scattered across the water’s surface, becomes a melody of lights — echoing the unpredictable yet beautifully ordered behavior of particles governed by the laws of quantum physics.

The work pushes the theme of anomalous mathematical patterns into new territory — blending scientific truth with human perception, and turning invisible forces into an emotional and symbolic experience of light, motion, and depth.

Peter Stewart

Leaves are blowing in the wind in the forest. The pathways are seemingly random, but underlying mathematical processes are driving the wind. This piece demonstrates the complexity of random motion of even the most simple things you'd find in nature, and the underlying concepts of math that influence our daily lives all of the time.

Stigmatrion (Entry 1)

"Diffusion" is based on a Newton-Hines fractal, a mathematical system that generates intricate, swirling structures by repeatedly transforming complex numbers. This method, originally an extension of Newton’s approach for solving equations, introduces unstable zones where solutions shift unpredictably, creating patterns that resemble energy spreading through space.

This chaotic behavior closely mirrors anomalous diffusion, where movement does not follow smooth, predictable paths - just like how ink spreads unevenly in water or particles navigate a turbulent fluid.

To enhance this effect, a sinh/log hybrid paint mode was applied, modifying colors based on mathematical transformations that emphasize flow and dispersion. The result is an image where spirals and filaments seem to dissolve and scatter, just as real-world diffusion can take unpredictable forms in nature.

Ultimately, "Diffusion" captures the harmony between order and randomness, showing how simple rules can lead to complex, organic behavior - just like the invisible forces shaping our universe.

Stigmatrion (Entry 2)

"Echoes" is based on a Generalized Lambda fractal, a system where patterns form by repeatedly transforming numbers through a set of mathematical rules. These rules allow self-replicating structures to emerge, much like how waves ripple outward when a stone is dropped into water.

This fractal mirrors echoes in nature, from sound waves bouncing off surfaces to gravitational ripples in space. Each shape in the image appears to repeat and reflect itself at different scales, creating a sense of infinite depth and resonance.

To enhance this effect, a special coloring technique called Mottles was applied. It uses a mathematical formula based on the cosh (hyperbolic cosine) function, which distorts light and shadow in a way that makes the structures seem to pulse and glow. This technique helps reinforce the illusion of rippling energy waves spreading through a vast, unknown space.

"Echoes" is a visual representation of how patterns, vibrations, and signals travel through the world around us - whether in sound, light, or the fabric of the universe itself.

Stigmatrion (Entry 3)

"There’s Something Out There..." is based on the Trilobite fractal, a system that generates complex, alien-like structures using mathematical transformations. By applying reciprocal formulas (flipping values in unexpected ways), the fractal evolves into organic, web-like patterns, as if something is forming out of the darkness.

This process mirrors anomalous diffusion, where movement is unpredictable - just like how particles drift through space in ways we don’t fully understand. Instead of smooth, even shapes, the fractal grows in chaotic, branching patterns, creating a sense of mystery and depth.

To enhance this eerie effect, a special Hollow Spikes paint mode was applied. This technique uses a spiky, layered shading method, making the structure feel three-dimensional, almost alive. The result is a shape that seems to be reaching out from the unknown, reinforcing the idea that there’s something beyond what we can see.

This fractal is a visual representation of the unknown, where mathematical rules create shapes that feel strangely familiar - like a glimpse into a hidden part of the universe.

Clark Stoeckley

Title: Eternal Orbits

Circles spinning, never still,


A dance of light, a cosmic will.


Colors bloom and overlap,


Infinite paths on a galactic map.

A thousand spheres, a million streams,


Weaving webs of endless dreams.


Each orbit hums a silent song,


A rhythm ancient, deep, and strong.

Through layers vast, the shapes emerge,


A tidal pull, a constant surge.


Each curve and arc, each shifting hue,


Is born of stars, yet ever new.

No single path, no perfect line,


Yet all converge in grand design.


From golden dawn to twilight's glow,


The endless circles ebb and flow.

They speak of balance, cycles deep,


Of truths the universe must keep.


In every twist, a whispered tale,


Of fragile strength and forces frail.

They echo love, they echo strife,


The constant pulse of endless life.


A boundless wheel, a ceaseless tide,


Where moments pass but none subside.

Dive into this kaleidoscope,


Where chaos blooms with tender hope.


Feel the rhythm, sense the stream,


A universe both real and dream.

For every sphere, though incomplete,


Joins the whole, a pattern sweet.


Eternal orbits, vast and wide,


A cosmos spinning, unified.

Dimas Andry Sugiarto

Video https://drive.google.com/file/d/111akyalXFsij6IjgGlsUabEmubpE6Y20/view?usp=sharing

This artwork explores the concept of visual disintegration through a particle system, where a solid object gradually loses its form and transforms into scattered fragments, as if dissolving into time or drifting away with the wind. The effect was created using the particle system in Blender and enhanced with cinematic elements in After Effects to add emotional depth and visual richness.

Through the use of physics-based particle simulation and mathematical parameters such as velocity, direction, and lifetime, the main object slowly breaks down into hundreds or thousands of tiny particles. Each particle follows a path calculated by mathematical formulas, creating realistic, controlled motion. I also used noise functions and turbulence to generate natural variation, representing the force of entropy acting upon a structured system.

Mathematically, this work symbolizes the transformation from solid to dynamic form, from unity to complexity. It visualizes fundamental concepts in mathematics and physics‚ such as shape transformation, conservation of mass in closed systems, and the measurable decay of structure.

By combining visual technology with mathematical ideas, this piece is meant to evoke not only aesthetic appreciation but also curiosity about the hidden order that exists within apparent chaos.

Anna Y-M Sung

Title: Lévy Drift of Love

This artwork combines the disorder of life with the quiet accuracy of destiny, using both mathematics and metaphor. In a cold, modern cityscape of steel and glass, heart-shaped dandelion seeds float along bright and unpredictable paths — each one a living example of Levy flight. Their movements are not random, but a kind of mathematical art: moments of chaotic motion followed by sudden, deliberate leaps, reflecting how love moves through life’s challenges to reach its true place.

The seeds glow with a warm orange light that stands out against the city’s cold blues and grays, symbolising strength and kindness in a world of isolation. Though their paths follow the rules of randomness, they feel meaningful, expressing the paradox of love: a mix of control and letting go, of reason and wonder.

By blending the idea of anomalous diffusion with the image of dandelion seeds, a global symbol of hope and vulnerability, the piece presents love as both scientific and poetic. It invites the viewer to consider: what if chaos is not meaningless, but a guide? In this world shaped by probability, the heart still finds its way.

Anastasiia Sushko (Entry 1)

This artwork explores the concept of fluid dynamics and the unpredictable nature of chaotic systems. The hands hold a cosmic liquid - a metaphor for the universe - where swirling patterns represent stochastic processes and the constant motion within dynamic systems. The image reflects the tension between order and randomness, capturing the endless flow of energy shaping our reality.

Anastasiia Sushko (Entry 2)

This piece reflects the interaction between two realities - one inverted, one tangible - symbolizing interconnected systems in a dynamic balance. The reaching hands suggest an attempt to bridge these worlds, while the contrasting black-and-white halves emphasize duality and the delicate boundary between structured and chaotic forms. It speaks to the mathematical concept of interacting random walks and reflective processes across dimensions.

Anastasiia Sushko (Entry 3)

This artwork delves into the mathematical concept of spatial topology and the exploration of multi-connected surfaces. The footprints disappearing into the unknown represent the journey across different dimensions, where boundaries blur and familiar geometry no longer applies. The fragmented celestial structures above symbolize the complexity of curved spaces and the challenges of mapping continuous yet distorted landscapes.