Tobias Groot (he/him, Hoorn, Netherlands, 1994) is currently based in Berlin and is working with photography, CGI and Artificial Intelligence. He received his bachelor’s degree in Photography from the Gerrit Rietveld Academie and has since exhibited work throughout the Netherlands, while being the Photographer in Residence at the Amsterdam University of Applied Sciences. Groot’s digital conglomerations contend with artificial intelligence and humans’ fleshy embodied experience. Capturing non-existent worlds without real people. applying physical experiences onto virtual bodies. 


Tobias Groot digitally simulates intimate scenarios, human flesh takes on a newfound 3Danimated quality as the artist explores relations and physical closeness during a time when individuals exist and interact in the virtual space. Computer-generated unearthly bodies float and intertwine in video loops, they split into liquid forms in a way that is anatomically impossible, as Groot researches the ways in which one can experience sexuality in a post-human, non-physical space. Through glitching abstract matter visuals and uncomfortable the manoeuvring of shape-shifter beings, the artist demonstrates his interest towards depicting carnality in the cyber age.


A glimpse from the artist’s latest mixed media project, First, they gave me bones (2021), a dyptich of two prints on aluminium, opening up at times and unveiling the cold metal underneath. The borders between the material and the virtual worlds become thinner as the digital image becomes tangible and is brought into physical space.


Scratching the Surface (2019) “centers around a science-fiction narrative of a humanless future” (Tobias Groot). While creating the piece, the artist had been teaching an algorithm how to imitate his own writing, the scrolling text an unintentionally encrypted compilation of personal diary entries — AI poetry. Behind these words, a one-take scene of the digital rubber-like skin as it crumbles and moves, almost recognizable. Familiar surfaces and shapes, faces and body parts are deconstructed, ever-transforming, in an attempt to define an incorporeal state of being.

Scratching the Surface, 2019