Sasha Kojjio

Sasha Kojjio creates audiovisual installations and environments, working across a broad range of media: light, laser, video, sound and kinetics. At the core of each work lies a system written in code: a custom algorithm that sets the logic and physics of how light and objects move through space. Within these systems Kojjio searches for fragile points — places where a mathematical formula opens into unexpected beauty, where a set of data reveals patterns that did not exist before. His method is the fracturing of his own structures: through spontaneous gestures, the substitution of parameters and the errors that surface along the way, he lets chance and the unconscious into the work. This is how the human enters a strict algorithm, and what ultimately holds the work together.

The viewer steps into these spaces and takes their physics apart layer by layer; the rules of movement shift, and the feeling of the environment shifts with them. Kojjio's works are dream-like and hypnotic, and can be watched endlessly: behind the mathematical precision that pleases the eye there is always something alive — a movement, a glitch that holds attention and gives rise to emotion. The sensations he is after, Kojjio does not attempt to describe; they are new, appearing in the process. He follows the response, keeps what resonates and leaves interpretation to the audience.

Sasha Kojjio is a Barcelona-based media artist and the co-founder and director of the studios media.tribe and metanoeia. Through media.tribe, founded with producer Alisa Davydova and sound designer Alexander Medvedev, he develops collaborative audiovisual projects shown at international digital art festivals across the Americas, Europe and Asia — among them INTERVALS in Nizhny Novgorod, NUR and LICHTROUTEN in Lüdenscheid. In 2020 his generative work Feather was presented on the ZAZ10TS screen at 10 Times Square, New York.

Kojjio's practice begins with a system rather than an image. Each work is built on a custom algorithm that defines the logic and physics of a space — how light travels, how objects move, how a structure assembles and comes apart. Lasers, LED surfaces, projection, kinetics and multichannel sound are the instruments through which that system becomes spatial.

What distinguishes the work is what he does to the system afterwards. Parameters are substituted, gestures are introduced by hand, and errors are allowed to surface and stay. In hypnotrohoid a deliberate fault in the code breaks an otherwise perfectly symmetrical mathematical function; in semantic anomaly, sorting algorithms are driven past their limit until conventional logic collapses into visual chaos. The flaw is not tolerated but sought: it is where the human enters a strict procedure.

The subjects those systems are pointed at are concrete. Beacons translates ocean waves, shifting dunes and the formation of mountain ranges into real-time light animation across ten pillars standing in a birch grove. adrift simulates the fracture and melt of glaciers across a monumental LED screen, every pixel handled as a particle. Kojjio does not attempt to describe the sensation he is working towards — he follows the response, keeps what resonates, and leaves interpretation to the audience.