Artist Julius Horsthuis: Exploring Otherworldly Dimensions through Fractals

Amsterdam-based visual artist Julius Horsthuis works at the intersection of computer graphics, cinematography, and abstract animation. For pieces like his film A Memory Palace--currently on display at StandardVision’s exterior digital media facade at 46 Penn Centre in Kansas City, MO--Horsthuis experiments with the software Mandelbulb3D to render out otherworldly Fractal Environments. Existing somewhere between a post-apocalyptic Earth and an illusive world situated in a separate dimension, Horsthuis’s animated pieces are labyrinths of detail which invite the viewer to immerse themselves in an alternate and otherworldly reality. StandardVision recently spoke with Horsthuis to gain more insight into his unique process and perspective:

SV: How would you describe your work?

JH: Fractals are mathematical formulas that--when rendered through a computer--create intricately complex “worlds.” My work is completely created through this technique, and I treat it as a kind of exploration process, taking the viewer along on a ride into these otherworldly places.

SV: I see that your background is in VFX commercial and film work. What led you to pursue animation and motion graphics full time, and what was that transition like?

JH: I started my career in the film industry doing technical jobs on the set. After that I became interested in VFX simply because this was another way for me to express my creativity. My dream was to direct my own film. And when, after working for years with CGI software, I stumbled upon Fractals, I was extremely intrigued and taken in by the possibilities of creating and exploring very detailed and intricate worlds that almost seem to exist in another dimension. My fractal films became quite visible online, and so I believed that it would be possible to make a living as a full-time fractal artist, which is what I did.

SV: The process behind your fractal animations is quite unique. Can you tell us a little bit about that, and how you came to work in this way?

JH: I think my process mostly has to do with my background in film. I've always treated anything CG as if I'm handling a camera on-set. Lens choice, lighting decisions, do we dolly or crane, etc. That whole language that has existed for over a century is so familiar to us that it's very important to take [it] into these alien realms. If you don't do that, the result is just too 'out there.’

So I explore these realms as if I were a documentary filmmaker, and I try to use this language of film, pacing, editing, etc in my work to connect with everybody else.

SV: You have a thoughtful and intentional perspective on the genre of fractals and fractal art. Can you tell us a little bit about your take on these mediums?

JH: For me, fractals aren't so much an end as they are a means. Although they are endlessly fascinating--not only in art but in nature as well--to me, they are especially well suited for digital art because they are so unpredictable. It's like you can't see through the code, no matter how hard you try. Also, they are great for immersive art, like fulldome or VR. For me, fractal pieces are mostly short films; films that have no story, but that feel like they [do].

SV: Are there any iconic, recurring elements or symbols in your work? Why are they important to you?

JH: The most important element to me is the relationship between the video and the music. Sometimes I spend days looking for the right music. These fractals are like music to me, and their animation is very much like a musical piece, with harmonics, dissonants, breaks, drops, everything. I don't make this music myself, but working with composers for these things is an extremely rewarding thing for me.

SV: Any exciting upcoming projects in 2021?

JH: Yes! In less than two weeks my exhibition in Artechouse NYC Geometric Properties will open its doors. This is the longest and highest resolution project I've ever created, and am very excited about this.

An excerpt of Horsthuis’ fractal film A Memory Palace is currently on display as part of the rotating public art program that StandardVision is curating for the exterior digital facade at 46 Penn Centre in Kansas City, MO. Beyond the launch and curation of digital art programming, StandardVision also activated the landmark display and integrated lighting facade.

You can learn more about Julius Horsthuis on his website, or by visiting his Instagram.