![Print, In Pace, Darokin](https://media.artsper.com/artwork/1961220_1_grid.jpg)
![Darokin](https://media.artsper.com/artwork/1961232_1_s.jpg)
Darokin
![Print, In Pace, Darokin](https://media.artsper.com/artwork/1961220_1_grid.jpg)
![Print, Notre Dame de Reims - ASCII, Darokin](https://media.artsper.com/artwork/1961223_1_grid.jpg)
![Print, Notre Dame de Reims - Origami, Darokin](https://media.artsper.com/artwork/1961229_1_grid.jpg)
Notre Dame de Reims - Origami
Darokin
Print - 180 x 120 x 1 cm Print - 70.9 x 47.2 x 0.4 inch
$2,309
![Print, Le Corps de David, Darokin](https://media.artsper.com/artwork/1968327_1_grid.jpg)
![Print, Ange au sourire ASCII art, Darokin](https://media.artsper.com/artwork/1961217_1_grid.jpg)
![Print, Sainte Suzanne, Darokin](https://media.artsper.com/artwork/1968333_1_grid.jpg)
![Print, Canti, Darokin](https://media.artsper.com/artwork/1968312_1_grid.jpg)
![Print, Mamimi, Darokin](https://media.artsper.com/artwork/1968315_1_grid.jpg)
![Print, David, Darokin](https://media.artsper.com/artwork/1961232_1_grid.jpg)
![Print, Naota, Darokin](https://media.artsper.com/artwork/1961241_1_grid.jpg)
![Print, L’homme de Vitruve, Darokin](https://media.artsper.com/artwork/1961100_1_grid.jpg)
![Print, Le Fils de l’Homme, Darokin](https://media.artsper.com/artwork/1961208_1_grid.jpg)
![Print, La jeune fille à la perle, Darokin](https://media.artsper.com/artwork/1961214_1_grid.jpg)
Biography
Adrien Rebuzzi, aka Darokin, (Reims) was born in 1982, at a time when screens and computers were becoming increasingly ubiquitous in the daily lives of the future millennials of his generation.
Darokin defines himself as an "underground" programmer and computer artist.
A programmer since childhood, Darokin uses 3D, creative coding and ASCII art, and defines himself as an "underground" computer artist.
His love of mathematics, geometry and the sacred shines through in his creations, whose universe is often imbued with an immutable immateriality evoked by computer imagery. Some of his creations come from universes relating to a bygone, fantasized era, as if to contain the passage of time. His color-blindness leads him to use a reduced color palette, a vestige of the display mode of his first IBM PS/1, which satisfies him visually: black and white contrasts and bright colors from saturated yellow, cyan and pink ranges. Through this unprecedented prism, the viewer travels back in time to the artist's childhood.
Darokin reflects his thirst for life and his optimism in the new chapters still opening up between man and machine. More than a leap in time, it's a step towards resolving our metaphysical complexes, where scientific curiosity and poetry have never been so close and transcendent.
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