The titling of the works is conceived as a speculative system in its own right. Each piece draws from a hybrid lexicon of financial terminology, philosophical language (Deleuze and Guattari, Byung-Chul Han), and techno-political writing (Nick Land, Paul Virilio, Curtis Yarvin), cross-pollinated with the idioms of crypto-economic discourse (tokens, protocols, consensus mechanisms). Organized between Genesis and Terminus, the sequence frames the series as a kind of closed loop or multiverse — a field in which altering one variable might collapse the entire structure or, more subtly, redirect its trajectory. In this sense, the titles function not only as names but as models of contingent systems, echoing the way Horowitz’s visual language tests the thresholds of translation, feedback, and instability across media.
Shockline marks the debut of Horowitz’s digital paintings — an electrified translation of his physical practice into digital form for the first time. These hybrid works combine oil paintings, drawings, and customized checkered registers — adapted from archaeological scales and reimagined as recurring devices in his practice — with scanned and photographed material and virtual brushwork. In digital space, the compositions achieve an almost impossible possible, moving with a speed and fluidity resistant to physical media. They radiate propulsion, urging the viewer forward, while extending Horowitz’s long-standing interest in cross-media translation and retaining the improvisational edge and conceptual wit that have defined his work from hCoin in 2015 to his Nouns DAO–funded film.
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