Tina Anderson
Tina Anderson
visual architect, media mythographer & scenographer of baroque mechanisms
OSTEN Biennial of Contemporary Visual Arts, participant 2026
Boomer Gallery · London
20–25 March · Tower Bridge District
Fox Yard Studio
3-14 April
6 Old Fox Yard , Stowmarket, Suffolk IP14 UK.
ArrivalGallery OSAKA
17–20 April 2026
2 Chome-10-16 Higashitenma, Kita Ward, Osaka 530-0044, Japan
ArrivalGallery Madrid
29 April – 2 May 2026
Calle Valencia 17, 28012 Madrid
The Holy Art Exhibition
27–29 March 2026
Via Felice Casati 29, Milan
AI Design Awards 2026 — selected participant
Experimental & Abstract Motion Project
Paris Digital Art Week
“LUMIÈRE”, selected artist, 8–9 May
33 Rue de Notre-Dame de Nazareth, Paris
Hechyeomoyeo Art Festival / Galeria Tnumbra. Mexico
May 30th to June 20th
Edificio Bertha, C. Zuazua & C. Mexico, Primera, 21100 Mexicali, B.C.
Arrival Gallery · The Monarch Gallery
1-30 June · Digital showcase, Manila Philippines
She does not invent worlds — she mediates their appearance.
Her artistic practice is rooted in an academic background in cultural history, including her thesis on The Book of Thoth, where Tarot arcana function as a symbolic cosmology. This research formed her interest in how ancient systems encoded the universe through symbols, mechanisms, and ritual diagrams
Her practice emerges at the intersection of:
— Athanasius Kircher’s cosmological machines
— Nicola Sabbatini’s theatrical engineering
— early optical devices
— neo-baroque scenography
— mythological systems
— experimental media environments
Working as a solitary author, she reconstructs forgotten scientific and theatrical mechanisms — organs, optical chambers, proto-automation — transforming them into contemporary audiovisual mythologies.
visual architect, media mythographer & scenographer of baroque mechanisms
OSTEN Biennial of Contemporary Visual Arts, participant 2026
Boomer Gallery · London
20–25 March · Tower Bridge District
Fox Yard Studio
3-14 April
6 Old Fox Yard , Stowmarket, Suffolk IP14 UK.
ArrivalGallery OSAKA
17–20 April 2026
2 Chome-10-16 Higashitenma, Kita Ward, Osaka 530-0044, Japan
ArrivalGallery Madrid
29 April – 2 May 2026
Calle Valencia 17, 28012 Madrid
The Holy Art Exhibition
27–29 March 2026
Via Felice Casati 29, Milan
AI Design Awards 2026 — selected participant
Experimental & Abstract Motion Project
Paris Digital Art Week
“LUMIÈRE”, selected artist, 8–9 May
33 Rue de Notre-Dame de Nazareth, Paris
Hechyeomoyeo Art Festival / Galeria Tnumbra. Mexico
May 30th to June 20th
Edificio Bertha, C. Zuazua & C. Mexico, Primera, 21100 Mexicali, B.C.
Arrival Gallery · The Monarch Gallery
1-30 June · Digital showcase, Manila Philippines
She does not invent worlds — she mediates their appearance.
Her artistic practice is rooted in an academic background in cultural history, including her thesis on The Book of Thoth, where Tarot arcana function as a symbolic cosmology. This research formed her interest in how ancient systems encoded the universe through symbols, mechanisms, and ritual diagrams
Her practice emerges at the intersection of:
— Athanasius Kircher’s cosmological machines
— Nicola Sabbatini’s theatrical engineering
— early optical devices
— neo-baroque scenography
— mythological systems
— experimental media environments
Working as a solitary author, she reconstructs forgotten scientific and theatrical mechanisms — organs, optical chambers, proto-automation — transforming them into contemporary audiovisual mythologies.
Architectural mechanisms, optical chambers, ritual machines
Research in baroque theatrical architecture: Sabbatini’s stage machines, luminous illusions, and the celestial mechanics of scenography
Research Statement
My ongoing research investigates the intersection of baroque theatrical engineering, proto-scientific optical devices, and contemporary digital scenography, focusing on how mechanical structures can become carriers of narrative, memory, and mythology. I study historical systems — Kircher’s cosmological machines, Sabbatini’s stage mechanisms, early automata, optical chambers, and organ architectures — and reinterpret them as living biomechanical environments.
My questions include:
— How can a machine function not only as a device, but as a dramatic entity?
— Can architectural mechanisms create ritual space in digital media?
— How does light act as a mediator between constructed and mythological worlds?
— What happens when scientific devices are treated as myth-making organisms?
Through animation, digital scenography, and AI-assisted visual research, I build mechanical cosmologies — multilayered environments that behave like symbolic, breathing systems.
My current cycle, Machine Hell / Organum Machina, has been selected for OSTEN Biennial Skopje 2026 and continues as a long-term investigation of mechanical mythologies, sentient architecture, and the dramaturgy of optical machines.
Contacts
andersontina02@gmail.com
