At a time of increasing anxiety around the role of artificial intelligence in contemporary society, one artist continues to lean unapologetically into the power of machines. That’s Refik Anadol, the Turkey-born Los Angeles-based new media creative (though he considers himself a painter), who, for much of the past decade, has used data as paint and algorithms as artistic tools. The results may not assuage our technological worries, but most often they’re colossal, mesmeric, and thought-provoking.

Anadol’s just-opened first solo show in his adopted city, “Living Paintings” at Jeffrey Deitch, presents new iterations of his long-time fascinations, albeit with a California focus. These include works visualizing the environmental data of Los Angeles, a data wall of the Pacific Ocean, working with a dataset of images from California’s national parks, and a revamped Infinity Room.

In short, “Living Paintings” both nods at Anadol’s past work and winks at the future. Here, we revisit five of the most important works from Anadol’s machine-propelled career so far.

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