An 80 × 80 grid of irregular cells — some lit, some dark — in gothic palettes of red, purple, blue and green. Between mosaic and stained glass.
For fashion houses, textile studios and surface designers. Each composition is generated from a numeric seed and can be licensed, adapted or commissioned to your brief.
A grid drawn from a distance function becomes a field with its own weather.
I am an Iranian-born artist working at the intersection of mosaic logic and generative systems. My work begins with a simple observation: the tiled surface — repetitive, mathematically structured, infinitely variable — has always been a form of computation, long before computers.
Gothic Grid renders an 80 × 80 grid of cells, each lit or dark depending on a radial distance function modulated by a sine wave. Cells that survive the threshold are drawn as small squares, their sizes varied by a second sine field, their colours drawn from a spectrum of 15–25 gothic hues — reds, purples, blues, greens — with per-cell variations in saturation and brightness.
Behind the cells: a dim background wash in a single gothic hue at low saturation and brightness, and a scattered glow effect that reads as out-of-focus light on stained glass. The result sits between mosaic and cathedral window. Each piece is defined by a numeric seed and can be regenerated, documented, and adapted for print, textile, and surface applications.
The same seed, presented as an archival print — and applied across fabric, scarf, textile and wall surfaces without loss of structure.
Every surface below is drawn from the same numeric seed — its repeat, orientation and scale adapted to the material, while the underlying structural logic remains identical.
Each cell's lit/dark state is decided by a radial distance function: distance from canvas centre, scaled by 2, then modulated by a sine wave with three periods. Cells closer to the threshold flip between lit and dark, creating concentric rings of density that read as a hidden structure beneath the mosaic.
A base hue is drawn from a curated set of nine gothic anchor hues — reds, purples, blues, greens. From this, 15–25 companion colours are generated with a wide hue spread (±60°), constrained saturation (20–70), and constrained brightness (5–60). Each lit cell picks a colour and modulates it further by sine fields.
Behind the cells, a scattered glow is drawn: every second lit cell spawns a soft ellipse in a hue-shifted colour at 10% alpha. Overlapping ellipses accumulate into a diffuse wash that reads as out-of-focus light passing through stained glass.
Gothic Grid is a generative design system rather than a single artwork. Its mosaic language can be adapted for fashion, textile development and other surface-oriented contexts — while maintaining a computational origin.
Each surface is drawn from the same numeric seed — reproducible, licensable, adaptable to your brief.