Laurie Frick ( Austin, Texas) develops a practice in which data from daily life becomes a tactile and perceptual material. Drawing from biometric information—sleep, activity, biomarkers—she does not aim to create scientific visualizations, but instead constructs an autonomous visual language. Her works, hand-built in wool, leather, and paint, take the form of geometric grids assembled piece by piece, like a slow inscription of lived time.

Her approach is rooted in a mode of thinking shaped by her engineering background, not as a technological aesthetic but as a system of logic, rules, and repetition. Data do not determine the form; they initiate the process. Between information and interpretation, Frick invents visual protocols in which color, density, and rhythm convey what raw numbers cannot—the texture of a day, moments of rupture, intensity, or absence. In the context of a society marked by constant surveillance, her work offers a sensitive reappropriation of data at a human scale, where pattern becomes both a form of resistance and a reimagining of self-representation.