Abhimanyu Krishna, known online as @visualalchemist, is an Indian digital artist. For him, nature is the ultimate teacher, sparking a childlike curiosity that drives his creative process. With a background in pure sciences and mathematics, he views the world as a network of data — from the chemical makeup of the air to the intricate patterns of leaves and flowers, all rooted in mathematical principles. This perspective extends to his art, where he decodes natural systems and translates them into generative frameworks, finding beauty not just in the predictable patterns but also in their random deviations.

Since starting his artistic journey in the early 2010s, he has experimented with diverse mediums, from illustrations and photo manipulations to artificial intelligence and machine learning. Currently, his focus lies in the realm of generative art, where he channels his curiosity into creating works inspired by nature and mathematics. His explorations delve into concepts like the butterfly effect and the multiverse, weaving together art, science, and the human experience into a singular creative vision.

We asked Abhimanyu about his art, creative process, and inspirations.

Can you tell us about your background as a digital artist? How did you get started in this field?

I had always been surrounded by creative and scientific individuals during the first quarter of my life. Limitations or boundaries in terms of potential were concepts I remained unaware of until much later. Until then, whatever could be conceived seemed possible — perhaps not always practical, but conceivable nonetheless. My academic journey began early, studying fine art and literature. Exposure to diverse ideas, thoughts, and experiments illuminated an essential truth: failure is a prerequisite for success. This understanding gradually dissolved my inhibitions about creative risk-taking.

I began embracing failure as a stepping stone toward greater achievements. Around this time, I was first introduced to programming languages, commencing my exploration of machine logic at age 14 through platforms like Arduino, and languages including C, C++, Batch Script, and Java. Years later, my engagement with Photoshop and other Adobe tools revealed unprecedented creative freedoms. The ability to scale and manipulate objects transcended the limitations of traditional media formats.

My curiosity led me to experiment with task automation through Photoshop actions and scripts — my initial encounter with “generative” output creation based on predetermined instructions. While I wasn't actively pursuing this capability's expansion, my subsequent discovery of AfterEffects introduced me to graphic motion, whether through keyframe manipulation or scripting. Retrospectively, these explorations could be considered my first ventures into generative art, albeit unknowingly.

Years passed, and after a period of distancing myself from code-based creative work, I serendipitously encountered coding environments utilized by artists who had long inspired me. Frameworks like Processing, p5.js, SonicPi, and environments such as TouchDesigner rekindled that childhood sensation of infinite potential. With these tools, I embarked on a journey of learning and imitation, consistently confronting failure in my attempts to create something personally meaningful.

However, these repeated failures never discouraged me. After three years of persistent effort, I began sharing my coded sketch outputs on Instagram. This experience revealed a profound insight: despite one's harshest self-critique, beauty ultimately resides in the perception of the beholder.

Can you share how you use mathematics, sound, and natural phenomena as inspiration for your generative art?

Nature, to me, is the ultimate catalyst for rekindling childlike curiosity. Through my studies in pure sciences and mathematics, I realized that everything surrounding us is fundamentally data. The air we breathe has a precise composition — 78% Nitrogen, 21% Oxygen; our social media engagement can be quantified; the intricate organization of leaves and flowers can be understood through Phyllotaxis and L-Systems; even music's emotional landscape can be decoded through mathematical perspectives.

Chords and notes, to me, are analogous to functions and objects in programming languages, with the negative spaces between musical notes carrying their own significance. These complex systems become comprehensible by understanding their underlying mathematical foundations and implementing them through generative art frameworks. There is a certain beauty in decoding the mathematical principles governing natural phenomena — things like, understanding how plants grow, and why Jazz resonates so deeply with human emotions.

Behind every seemingly complex system lies a simple cause-effect relationship. Those truly seeking understanding must go into the mathematics that govern these systems. Plants, genetically programmed to grow in specific patterns, exhibit a stereotypical beauty appreciated worldwide; however, I found myself increasingly fascinated by the deviations from these predetermined rules and codes, since they were not planned and that is unique to them and only them.

A profound appreciation emerged for the random events occurring within these naturally hard-coded environments. This perspective grounded me in the present moment, cultivating a deep awareness of “nowness.” My perception expanded to the point where visualizing the butterfly effect and the concept of multiverse became intrinsically interconnected. This realization led to a deeper self-appreciation — recognizing that I exist precisely as I am in this singular moment.

The past remains definite, while the future is never guaranteed. The only space where genuine transformation is possible is the present — the eternal “now” that holds the potential for meaningful change and profound understanding.

You’ve worked with various mediums throughout your career. How do you decide which medium best expresses your ideas?

Before starting an art piece, I do various explorations in different mediums. If I wanted to create a surrealist piece, I could take the route of painting, writing, collaging, coding, or even producing soundscapes. The intent with which I'm approaching the project and the experience I want for the artwork is what will drive the selection of one medium or multiple mediums, or an amalgamation of methods without restricting myself.

I try not to be too efficient with time, while keeping in mind to not overdevelop an idea. What matters most is allowing the creative concept to guide me, rather than forcing it into a predetermined path. The exploration itself becomes as important as the final artwork, with each experimental approach offering its own unique insights and possibilities.

My goal is to remain open and flexible, letting the artwork's core vision determine how I'll express it, rather than limiting myself to a single method of creation. This approach allows for a more intuitive and organic creative process, where the art can emerge naturally and authentically.

Growing up in a country rich with mysticism and science, how do these dual influences manifest in your art?

I am an Indian, and we are known for the diversity in languages, cultures, religions, and mostly stereotypically for our spiritual practices, be it yoga, buddhism, the concept of Karma, or any other thing you may encounter.

And while I grew up with all of these things, my family has a history of successful people of science, be it in chemistry, mathematics or biology even. As an individual I explore a lot of philosophy, psychology, cultures, interpretation of things, and anything else that catches my fancy. These influences nudged me to explore an intersection of these spaces.

Environments like TouchDesigner and Houdini allow me to explore these intersections with ease. There’s an idiom that has stuck with me since a very long time, “Work is worship.” I came up with my own interpretation of it through my process of learning, the process of creating art is spiritual, the methodology is scientific and the outcome is an amalgamation I like to call art. I came to a realization that while the final outcome of a lot of my work may not be exciting to me, the process of creating them is like finding peace within chaos, directing all your energy towards one goal without worrying about the final outcome. I could do what I absolutely love through this process, which is to learn about various things around me and in my immediate environment. The outcome is an abstract visual depiction of what it means to have that experience or to live one’s life in the now with a deep deep appreciation for all things good and bad.

Your work often includes sensors and projections. How do you approach designing interactive and immersive experiences?

While interactivity is easy to achieve, I focus more on the immersive and experiential aspects of things. Having been formally trained in communication design, it's ingrained in me to think about the experience and what I'm trying to communicate through it. My approach is always function first, form later, while keeping the original inspiration in mind.

For me, the core message and the user's experience take precedence over technical complexity. I'm not just interested in creating something that works, but something that truly connects with people and communicates a meaningful idea. The technical interactivity is a tool, but the real magic lies in how the experience makes someone feel or understand something deeper.

This means I constantly ask myself: What is the fundamental purpose of this design? How will someone interact with it? What emotions or insights do I want to evoke? By prioritizing these questions, I ensure that the final form emerges organically from the function, staying true to the initial creative spark that inspired the work.

What role does experimentation play in your artistic process, especially with emerging technologies like machine learning?

I believe having tunnel vision regarding one's work or style is boring, no offense. Experimentation and cross-functional approaches, taken in a playful manner, lead one to new and unexplored territories—and that's what excites me, especially when we talk about generative art.

For me, creativity isn't about perfecting a single method but about constantly pushing boundaries and exploring unexpected connections. The joy is in the discovery, in breaking away from rigid methodologies and allowing curiosity to guide the creative process. Generative art, in particular, offers this incredible playground where code, randomness, and artistic intent can intersect in surprising and delightful ways.

By remaining open to different approaches and refusing to get stuck in one way of thinking or creating, I keep my work dynamic and alive. It's about embracing the unknown, being willing to fail, and finding excitement in the unexpected outcomes that emerge when you mix different disciplines and perspectives.

Your work reveals “hidden realms” in the ordinary. Can you share an example of a project that transformed something mundane into an extraordinary perspective?

A few years back, I created a prototype as a proof of concept, exploring how different types of sounds affect the human psyche and physiology in the moment while people experience them. The aim of the prototype was to visually depict how, even though people may experience the same situations and stimuli, they respond in a very unique and individualistic manner.
I prepared a video for the MVP that had various sounds meant to surprise, confuse, scare, and calm a person down. Each of these four stimuli were assigned a specific color. After extensive exploration, I settled on using a heartbeat and temperature sensor to monitor physiological fluctuations caused by the video.
Realizing I had all the building blocks together, I started to work on the experience itself. While showcasing the prototype, I invited people with the premise of creating their very own unique generative digital artwork. All they had to do was get through a 7-minute video with their hands placed on the sensors. The element of surprise with respect to the stimuli video was crucial, so I deliberately kept the video's contents a secret beforehand.
I connected my entire sensor circuitry to my system via Arduino to capture data, which was then autonomously communicated to a Processing sketch I had written. This Processing sketch used the real-time physiological changes monitored by the sensors to plot interconnected lines based on a custom algorithm I created. The results were outputs that looked similar to each other, but upon deeper examination, each was unique in form, capturing the essence of physiological changes in that moment.
This project perfectly represented the inspiration behind it: the word 'Sonder', which means having a deep realization that each person you pass by is living a life equally, if not more complex than yours. The overall articulation and execution of this project were widely appreciated, especially considering not everyone understood the intricate processes happening behind the scenes.
When I say my work reveals the “hidden realms” in the ordinary, I'm philosophizing and romanticizing the mundane around me — much like the inspiration for this project, the word “Sonder,” which I first encountered through John Koenig's book “The Dictionary of Obscure Sorrows.”

What is a profound childhood memory?

My extended family, along with our nuclear family, were camping, and all of us kids were discussing our favorite spots to be in. All my cousins chose their favorite spaces as a child would — you know, their bedroom with their books and toys, or with their friends at school, which is what a kid should choose ideally, right?

Then came my turn. With a sparkle in my eye, I said, “I like being around electronic gadgets and learn how they work. I would like to open it up and try to close it back up again for fun.” You can imagine the confused looks I got from everyone.

Well, who knew that even after two decades or so, I would still like to break things down to build them back up, with just a change in modalities. What started as a childhood curiosity has transformed into a lifelong passion for understanding how things work, taking them apart, and reimagining their potential.

What else fills your time when you’re not creating art?

I like to spend time with my loved ones, or if I'm alone, I enjoy marinating in my thoughts. These activities help me recover from the daily hustle. When I'm feeling productive, I'll start learning new things, find some obscure music, explore philosophies and perspectives from around the world to broaden my horizon of what's possible—among many other things that could keep me busy for at least a week.

I'm always seeking to expand my understanding of the world and myself.

The diversity of these activities—from intimate personal moments to intellectual explorations—keeps life interesting and helps me maintain a sense of balance and curiosity. It's about finding joy in learning, connection, and the simple act of being present.