Andreas Gysin & Sidi Vanetti employ industrial and urban signage and displays, as well as familiar objects such as digital or split-flap displays within their practice. At its core, their work examines the potential of the computer as a medium. The result is a body of work that is inherently digital.

For Materialized, the artists have collaborated on several physical and digital works as well one long form generative piece.

One of the featured works includes 64 Pixels, a physical piece that is accompanied by a digital counterpart on the blockchain. The work explores the possibilities of abstract compositions within the limitations of 64 pixels. Recursive tiles expands upon the groundwork set by 64 Pixels, where the artists transcend the limitations imposed by the hardware and purely rely on programming software, allowing their exploration of pixel compositions to become more complex and intricate.

Red-Green showcases meticulously crafted individually composable LED pieces. This artwork brings in an element of colour exploration and reflects on the artists' ongoing fascination with programming, pattern creating and abstract compositions. In addition, VFD CUU is a tiny but impactful piece that is composed out of vacuum fluorescent and encased within a finely crafted wooden enclosure.

Six Letters is an exploration centered around a set of 6 letters, aiming to uncover the vast array of words that can be formed from this limited combination. This project shares a conceptual parallel with the Traveling Salesman Problem, a well-known mathematical conundrum. Just as the Traveling Salesman seeks to determine the most efficient route between multiple cities, Six Letters aims to uncover the various combinations and arrangements of the given letters.

Digits developed over 9 years and is composed of electromechanical components known as 7-segment displays, which are commonly employed for showcasing numbers and a restricted array of characters. These displays are a ubiquitous feature in gas stations, where they are primarily used to exhibit fuel prices. In this particular installation, the individual segments of each digit are meticulously programmed to generate rhythmic, horizontal motions, creating a visual spectacle of undulating waves.

The exhibition culminates in the presenting of 256, a long-form generative project created specifically for this exhibition. Within this work, the artists explore the gradients within software, investigating their capacity to generate three dimensional forms and compositions. The inception of this project traces back to the artists' involvement in visual research, undertaken as part of a commission for a possible science fiction film. Their task was to imagine futuristic languages and signage systems and this created the base for this long from project, where the artists preserved the concept of layering and reimagined it by developing a new and efficient code.

Gysin & Vanetti's work is held in several institutions, including Haus für Elektronische Künste (HEK) in Basel, the Museum für Gestaltung in Zürich, Collezione Banca Stato in Ticino, Collezione Repubblica e Cantone Ticino, and Fondazione Lindenberg in Porza and Comune e città di Lugano.