William MapanSketchbook B

Drawing has always been a process of exploration—of both the self and the world. It is a medium rooted in immediacy, where each mark negotiates between control and release, intention and accident. William Mapan extends this tradition into the digital space, where his compositions emerge through a dynamic interplay of structured algorithms and organic unpredictability.

With Sketchbook A (2023), Mapan embraced an open-ended approach, creating a code that feels uninhibited—like a child’s drawing, free from predetermined finality. He described it as an external perspective, observing the creativity and spontaneity that emerged from the community’s interactions with his code. Over 1.5 million seeds were generated, culminating in the 64 final works that form the collection of Sketchbook A. In contrast, Sketchbook B became more personal—an exploration of his own mark-making. It represents a deeper articulation of his artistic identity, moving beyond style and composition to a fundamental inquiry: What is my mark? And more importantly, what is my work beyond my mark?

Over 18 months of experimentation with watercolor, paint, pastel and even his hands, Mapan sought to bridge digital drawing with his natural sketching style while preserving its expressive core. Though more assured than its predecessor, Sketchbook B remains an exploration at heart—an ongoing dialogue between his hand, the code, and the evolving plane of marks and forms.

Alongside Sketchbook B, SOLOS presents Études, highlighting the looseness of early-stage drawings and the evolution of Mapan’s sketching practice. Études works span various phases of the algorithm’s progression - with every new phase introducing a new characteristic. They capture the meandering and experimental nature of Sketchbook B’s evolution. The decision to make a series of Études stemmed from William wanting to preserve this progression - a recognition that the sketches that pave the way are just as much a part of his identity as an artist as the final works themselves.

At its core, Mapan’s work is about learning—about materials, perception, and the delicate balance between intention and discovery. He reflects on traditions of Abstract Expressionism, action painting, and Color Field painting, valuing the raw energy of mark-making over technical execution. To him, art should not be driven by precision alone—machines excel at technique, but they are not made for expression. It is human intent that breathes life into digital creations. This is why having a voice in digital art is essential: the technical can be the art, but it must be in service of something greater.