Light takes ten years to cross a pane of slow glass. Everything seen through it has already happened. We build work that behaves the same way.
Nothing we make is a file.
01 — Position
We don't render.
We run.
A program that draws itself frame by frame for as long as it is switched on — answering to the room, the hour, and the person standing in front of it. It never repeats.
That is harder to sell than a video and harder to install than a print. It is also the only reason to do any of this.
Selected work — six pieces, live
01 / 06
One of them has not been switched off since 2025.
03 — Case study
Case — 00
The brief asked for a screen. We argued for a window instead — something still worth looking at on the four hundredth walk past it. It has not been restarted since commissioning, and it has never shown the same frame twice.
How a piece gets made
We measure the room before writing anything — light through the day, sightlines, how long a person actually stands there.
Twenty throwaway shaders. Nineteen get deleted. The survivor is the one still worth looking at after an hour.
Rewritten for permanence: fixed memory, no allocation in the frame loop, degradation paths for ageing hardware.
Mounting, calibration, colour matched to the room. We commission on site and stay for a full day cycle.
Source, machine image, and a one-page note a facilities team can follow without calling us.
What we actually do
Raymarched geometry, dispersion, fluid and particle systems written as shaders rather than assembled from plugins.
Screens, projection, LED. We handle the mounting, the machine in the cupboard, and the thing that restarts it at 6am.
Built to run unattended for years. That constraint shapes everything — no dependency we can't maintain ourselves.
Shown at
Studio
We keep the slate short on purpose. If you have something with a long runtime and an appetite for work that behaves rather than plays, write early — the calendar fills about nine months ahead.
studio@slowglass.sg