By Cansu Peker

Subliexe is a digital artist whose work explores abstraction, glitch, and memory in the age of image hypervelocity. His name (a fusion of “sublime” and “execution”) reflects both his conceptual focus and his hands-on approach to digital experimentation. Using tools like Processing, AI, GIMP, and data moshing software, Subliexe explores the chaotic speed at which images flood our lives today — and what that speed does to our sense of memory, time, and identity.

For Subliexe, we’re living in a visual overload. Images appear and vanish before we can process them, lingering in the mind only briefly, if at all. This constant flux, he believes, fragments who we are. His response? To intervene. He takes the fleeting, half-remembered images that have already been chewed up by speed and technology, and breaks them down even further — before rebuilding them into something new. His works are layered with computer-generated forms, glitch aesthetics, and visual fragments rooted in his subconscious and childhood memories.

At the core of his practice is a deep appreciation for imperfection — for the digital error, the unexpected distortion, the emotional rawness of the unplanned. In contrast to the polished perfection of internet visuals, Subliexe embraces what’s broken or wrong. His creative process is instinctive and physical, often driven more by emotion than logic. Each work becomes a way to pause, to resist the speed of the digital world, and to reclaim fleeting moments as visual artefacts.

We asked Subliexe about his art, creative process, and inspirations.

Can you tell us about your background as a digital artist? How did you get started in this field?

My first approach to the world of digital art dates back to 2020, when I saw, by chance, on Instagram, the works of Refik Anadol, one of the most famous digital artists currently around. The vision of Refik Anadol's works created with AI dazzled me; from that moment on, I started to study and delve into the main artists around and immediately felt great interest in digital art obtained through glitching techniques. Combining my university studies in data science and artificial intelligence with my search for new techniques, I developed a range of skills in the use of generative art software such as Processing, graphic design software such as GIMP and data moshing applications such as Glitchlab and Mirrorlab. This combination of art, technology and visual experimentation continues to guide my artistic research to this day.

What is at the heart of your artistic research? What do you seek to explore, communicate or question through your works?

The core of my art is the exploration of the image in the age of hypervelocity. We live surrounded by an enormous amount of images flowing before our eyes at such a speed that memory cannot retain them. This continuous and superficial flow fragments our identity, alters our relationship with time by fragmenting our memory. My attempt is to react to this state through art: to destroy the images that speed has already made ephemeral, to reconstruct them in new forms. This results in works that combine forms obtained through glitch techniques (specific to computers) with forms from my subconscious and childhood.

The heart of my artistic research is a praise and exploration of the error and imperfection, of the wrong that is not present in photos and videos on the internet where the quest for perfection and speed take over. All produced in an artistic gesture that is profoundly instinctive and emotional, it is a direct action of the body based on a profound need for redemption without being in any way constrained by reason. It is an attempt to slow down, to deny, to immobilize instants that cannot be stopped, and so what remains are abstract and glitchy works.

Your name combines ‘sublime’ and ‘execution’ - how does that reflect your artistic philosophy?

The ‘sublime’ represents what emotionally gives me the most in life, both in terms of natural landscapes and life experiences. It gives me emotions of fulfilment but at the same time melancholy. I try to work on images that have impressed me and represent sublime situations. The end result tries to be equally sublime, albeit modified and completely abstract. As far as ‘execution’ is concerned, it refers to the execution of software where the executable is typically indicated by the ‘.exe’ extension. It seemed fitting then to combine these two words to create Subliexe, where I try, using/executing software to achieve sublime images.

You work with glitch techniques and hypervelocity imagery - how did you first get interested in this kind of digital chaos?

This kind of imagery is part of the collective memory. Since platforms such as Instagram and TikTok have become ubiquitous, we live constantly immersed - or perhaps overwhelmed - by a continuous stream of images. Our emotional lives are conditioned by what we see: happiness, pain, desires, insecurities... everything passes through images. They shape our thinking, our behaviour, our ideas. They construct us, they modify us. Our identity is constructed from images.

At a certain point, I realised how much images - especially the hyper-fast and often chaotic ones that scroll through social media - negatively affected my mood. They conveyed to me a feeling of sadness, bewilderment, and identity fragmentation. This awareness gave rise to my artistic research: using the same tools as digital chaos to reflect on it, transform it and give it back an aesthetic and emotional meaning.

If you could collaborate with any artist, who would it be and why?

I would like to collaborate with several artists that I deeply respect.

In particular, Chepertomz, Blanqspacer and Evo_xyz: they have a great sense of composition, which they combine with an extraordinary and dynamic use of colour and shapes.

I am also fascinated by the idea of collaborating with 3D artists like Kitasavi - although we use different techniques, I believe we share a very similar aesthetic sensibility.

In the field of multimedia art, in the future, when I have more experience and have refined my technique, I would like to work with Italian artists such as Quayola and Franz Rosati, whom I find incredibly stimulating both for the conceptual depth and visual sophistication of their works.

Have there been any surprising or memorable responses to your work?

It has been very nice the times I have received recognition and compliments for my work from artists I really respect.

Do you ever find beauty in glitches that happen in everyday life, outside of your art?

Absolutely yes, I often find beauty in glitches that happen in everyday life.

Glitching, for me, means looking at the world with different eyes. It is a sideways, oblique look, finding visual fragmentations where others see normality.

I often get lost looking at buildings or figures reflected on water, glass surfaces, or the irregular textures of a rock face. Nature, after all, generates spontaneous glitches all the time: imperfect patterns, light distortions, unstable reflections - but we too often fail to notice them, because we are used to looking only for what we already know.

These moments, these hidden imperfections, are a constant source of inspiration for me and often become the spark from which a new visual experimentation is born.

What else fills your time when you're not creating art?

When I am not creating art, I am constantly searching for new artistic stimuli, new visions, new ideas, new reflections.

I spend my time reading books and comics, watching films, taking photographs and videos, writing poetry and experimenting with new multimedia art ideas.

Lately I have been fascinated by Japanese expressionist animation, especially films by directors like Satoshi Kon or Masaaki Yuasa.

I also love comics by artists such as Gipi, Miller and Moebius, which I consider real sources of visual inspiration.

When I feel the need to disconnect, I like walking in nature - in the mountains or at the lake - or travelling without a precise destination, letting myself be inspired by what I encounter.