Studio Chantal Matar Ltd.
Liminal Flow
Venice Biennale – Abstract Morphologies
“Liminal Flow” emerged during the disorienting silence of the pandemic, as both a personal and collective meditation on vulnerability and transformation. Conceived in a time of isolation, the piece captures the fragile threshold between deterioration and renewal, stillness and motion, collapse and healing. What begins as a cascade of fragmented matter evolves into a continuous current, suggesting that within states of decay lies the potential for reconfiguration.
Chantal’s process drew upon generative morphologies, employing computational geometries that bend, twist, and dissolve into unfamiliar forms. The result is a suspended landscape of liquid architecture: a body of data made visceral, evoking waterfalls, erosion, and the unstable rhythms of nature. Rather than seeking permanence, the work embraces impermanence, a structure that is constantly undoing and remaking itself.
“Liminal Flow” resists the static image of architecture. It is not an object, but a state, a passage through which energy is channeled, broken apart, and recomposed. In its immersive presence, the piece proposes that healing is less a return to stability than an acceptance of flux, where fragility itself becomes the ground for resilience.
Morphogenesis
Generative Exhibition – Galerie Fractal, Paris
“Morphogenesis” unfolds as a meditation on growth, decay, and perpetual transformation. Rather than presenting architecture as a fixed form, the piece captures the unstable rhythms of matter in flux. Its surface appears both natural and artificial: resembling windswept terrain, eroded stone, or cloud formations frozen mid-motion.
Created through generative processes, “Morphogenesis” employs computational geometries that bend, dissolve, and reconfigure into unfamiliar states. Each iteration is unique, as if the work itself is alive, continually unmaking and remaking its own contours. In this way, the piece resists finality, refusing to settle into a single image or interpretation.
As part of Chantal Matar’s larger exploration into AI-driven art and immersive environments, “Morphogenesis” asks viewers to consider design not as permanence but as metamorphosis. It is less an object than a condition, a living process where instability and change become the foundation for resilience. Exhibited at Galerie Fractal, Paris, the work stood as both a visual and conceptual statement: architecture as atmosphere, breathing with time.
Morph
Galerie Fractal, Paris, 2023
“Morph” investigates the strange reciprocity between the microscopic and the monumental. The work draws on biological processes and generative geometries, where what appears infinitely small can also be read as infinitely vast. Inspired by the mathematics of Mandelbulb fractals, the piece translates recursive patterns into sculptural topographies that oscillate between the cellular and the cosmic.
The prints emerge from algorithmic explorations in three-dimensional fractal modeling, their surfaces forming intricate cavities, ridges, and crystalline protrusions. At close range, the details resemble bone, coral, or microscopic tissue; when viewed at a distance, they take on the scale of geological formations or planetary crusts. This play of perception collapses the usual boundaries of scale, making the micro inseparable from the macro.
Exhibited at Galerie Fractal in 2023, “Morph” situates itself at the intersection of art, science, and architecture. It proposes a vision of form as a continuum, endlessly repeating, mutating, and growing, where the hidden structures of life and matter become both inspiration and material for design.
ETHEREAL
Noor Festival Proposal, Riyadh, 2023
Ethereal was conceived as a large-scale immersive stage installation for Noor Festival in Riyadh. The piece envisioned vast, AI-driven formations of fabric and cloud, suspended in motion and light.
Designed to merge performance architecture with atmospheric sculpture, it invited audiences into a sensorial environment where material, light, and algorithm blurred into one continuous flow. The proposal continues the studio’s exploration of kinetic, fluid, and algorithmic architectures at festival scale.
Anthropocene
Vorspiel Festival, Anecoica Studio, Berlin, 2022
“Anthropocene” is a generative audiovisual installation that unfolds as a shifting landscape of fluid geometries and digital textures, projected as an immersive environment where sound and form continuously entangle.
Sound by Anecoica Studio, was integral to this composition: layers of electronic resonance and fractured rhythms echoed the visual turbulence, creating a sensory space that oscillated between harmony and collapse.
The audience was immersed in a digital terrain that felt simultaneously planetary and intimate, exposing the contradictions of our time, expansion and erosion, connection and alienation.
Connection
30 Seconds Museum, Shibuya Crossing, Tokyo, 2022
Presented on one of the world’s busiest urban stages, “Connection” was installed as part of the 30 Seconds Museum in Shibuya, Tokyo. Here, in the heart of the crossing where thousands of people move in constant flux, the work introduced a moment of suspension: a living digital form unfolding across the luminous billboards.
The piece expands Chantal’s ongoing exploration of fluid, generative geometries. Waves of motion and smoke-like textures emerge and dissolve in an endless cycle, echoing the flow of the city itself. The installation juxtaposes Tokyo’s dense urban fabric with an elemental expression of transformation, an abstract organism that feels both intimate and monumental.
By occupying a site of hyper-commercial spectacle with an atmospheric, time-based artwork, “Morphogenesis” repositions public space as a stage for poetic interruption. It demonstrates how digital art can engage passersby not through consumption, but through immersion, offering fleeting instants of stillness amid the rush of the metropolis.
