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A luminous syntax of movement, perception and code where geometry and color merge into interfaces that feel at once digital and sensorial, articulating a poetics of interaction that is both abstract and embodied, his work transcends the mere aesthetics of generative art by constructing grammatical systems of affect, in which each shape, gradient or responsive layer performs a communicative function within a larger non-verbal language, the use of reflective planes, spectral hues and optical illusions generates a sense of depth without volume, of space without coordinates, echoing a digital sublime that is intimate rather than monumental, Lieberman’s grammar is not textual but kinetic and chromatic, designed to be experienced through motion, gesture and the subconscious rhythm of looking, in this way, his practice intersects with the legacy of artists like Moholy-Nagy or Vera Molnar, while grounding itself in the expanded field of creative coding and algorithmic design, a paradigmatic example of this can be seen in the layered transparency and iridescent gradients of these works, which simulate spatial shifts and perceptual echoes that alter depending on the viewer’s position and light, unlike static composition, Lieberman’s grammar invites co-authorship: it asks the public not only to observe but to participate in the unfolding of form, creating dynamic feedback loops between technology and attention, thus, his visual language is a structure of potential: each frame a clause, each interaction a syntax of presence in the digital now.
