The Computer Virus Project's initial goal was to produce physical paintings using algorhytms that implement a"viral" model in cyberspace. This code is a simulation tool allowed him to virtually introduce artificial organisms into a digitized reproduction of an earlier artwork (the host) and let them transform and destroy those images in a ravishingly beautiful manner. During these launched “attacks” in 1993, a new still image was extracted and robotic spay painted on canvas, which is a way to bring back the virtual into the actual. The negative connotations of the HIV virus as a vector of disease is reflected in the principle of degradation that the host image undergoes. But the virus is also the basis of a creative process, producing at times splendor and newness in terms of the history of painting.
Signature: on the back with the title and year written by the artist
FRAC Franche-Comté, Fondation Claude-Nicolas Ledoux, Sept.10 - Nov1st, 1993
Saline Royale d'Arc-et-Senans, 1993, Galerie Yvonamor Palix, 1994
Joseph Nechvatal, FRAC Franche-Comté, Fondation Claude-Nicolas Ledoux, 1993