The painting was an output of my effort in the digital realm. The mesh was pushed with forces of the program I use, and a projection of an older painting was mounted in the texture. Both digital and analog essentials of the practice, combining them in hyper loop. From my perspective it was an interactive piece, and I brought it to the viewer through VR gear, to introduce each individual to the digital realm of my practice. This means that when one will put the VR headset on their head they would see the exit to the room where the installation was in, but instead seeing the analog 2-dimensional projections participants could walk trough the mesh and see the work built. Through the creation of algorithmic compositions in a 3D software, the work demonstrates the evolution of traditional methods and thus comes to a new experience. This will allow the viewer to survey co-presence, not watching the act of art, and witness artifacts of the digital era that are potentially infinite in their variations. The difference from the presented is the access to modifications that can be gained at any moment when having access to the source code. Interestingly, the «source code» of the painting is right in from of us. It can be modified at any time, it can be destroyed, and it can progress, while the access to the program and the original file can be lost, and is not being present. The algorithmic structure of the code and nodes in this case will remain, but the outcome to the visible form of the work will always be different. Just like the painting is the result of the imperfect movements around the surface of the canvas, the molecular array of pigments and oil are sometimes unpredictable. The same way digital output to a screen or a monitor is uncertain, random parts of the code make it irreplicable each time the scripts are run.