The Exchange at 100 Federal Street

Boston Cyberarts is pleased to have commissioned a second round of new digital art for Boston Properties’ new video wall in the courtyard at 100 Federal Street, their 37-story, Class A office tower located in the heart of Boston’s Financial District. They have constructed a new street-level glass atrium adjacent to 100 Federal Street along Congress Street. Open since late February 2018, the glass atrium features 8,500 square feet of retail, 500 square feet of kiosk space and a 8,990 square foot year-round garden. In 2018 & 2020 Boston Properties asked us to commission five original artworks to be displayed on their thirty five foot by sixteen foot LED wall. Please click here to view the first round of work from 2018.

More information from SOSO and Wescover.

Journey to the Sun, Georgie Friedman, 2020

This video journey begins based in the terrestrial, with trees and rapidly progressing clouds, storms, and sunsets. We then navigate up through the clouds via airplanes and slowly ascend 254 miles above Earth, to views from the International Space Station. Traveling around the world several times, we witness the Earth through darkness and light, various terrains, lightning flashes in clouds far below, hurricanes, the Auroras Borealis and Australis, comets, and other celestial bodies. Continuing through the stars, we watch as the Moon progress through a full cycle and observe its rough terrain in extreme detail. As we approach the Sun, we begin to see its many magnificent components including what looks like lava explosions, fiery dragon's breath, and outlines of primordial creatures. The four extreme ultraviolet frequencies, which record elements up to 2.25 million degrees Fahrenheit, are actually revealing the sun's corona, solar flares, plasma (filaments and prominences), magnetic field lines, coronal mass ejections, and coronal holes that produce "solar wind" which create the Auroras on Earth.

Shareholder Daydreams, Keaton Fox and Renee Silva, 2020

A surreal simulation of static and moving images, Shareholder Daydreams visualizes subconscious tenderness within a corporate landscape. Abstract colors and shapes dissolve into natural elements from the outdoors. The calming ocean blues and forest greens light up a man-made glasshouse, creating an uncanny mixture of digital and tactile worlds. In a space designed for progress and movement, Shareholder Daydreams is a catalyst for pause. This meditative mirage offers an unconventional respite through which hard working strangers can communally daydream. 

Good Day, Sunshine, Dennis H. Miller, 2020

Good Day Sunshine is a site-specific animation that employs the sun in both literal and figurative guises. The work is sectioned into units roughly analogous to periods of the day, with several elements first seen in the opening section recurring throughout. Continuous variations in color, motion, form and screen placement propel the piece forward, and short, episodic “digressions” appear repeatedly to interrupt the work’s trajectory.

House Divided, Daniel Alexander Smith, 2020

A confined apartment extends indefinitely. As we move through the space, programmatically generated rooms disintegrate just as quickly as they are formed. Without any binding force, the tiny pressures of trim, tile, drywall, and stud compound, wrenching the entire structure apart. Created during the 2020 pandemic lockdown, this piece extends the confined interior living space--now overly familiar to city residents--to its breaking point. This forced re-examination of the confines of our lives, enables us to break and form them anew

BRAID, Mark J. Stock, 2020

BRAID is an hour-long generative video of points of color flowing through changing fields. The colors and fields are taken from notable works of art throughout human history, though with the colors dissociated from the form and mixed together, and the form colorless and influential only as a guide for the motion of the points. The digital subsystem, or algorithm, used to generate the images is a highly-evolved numerical tool for the simulation of unsteady fluid motion, conceived and implemented by the artist. The end result is a collection of dynamic braids of activity - a seamless merging of connection and dispersal, of association amidst freedom.

About the Artists

Keaton Fox is a multidisciplinary artist who uses art and technology to reflect the digital disarray of the modern world. Fueled by child-like fascination and frustrations, Fox combines the natural with the virtual to create visual experiments that playfully explore the varied realities of our time. Her video artworks have been exhibited in a variety of art spaces across the world including the Boston Cyberarts Gallery in Massachusetts, Elsewhere Factory in Rome, Kuenstlerhaus Bethanien in Berlin, and the Everson Museum in New York. To learn more about her work visit

Georgie Friedman is an interdisciplinary artist whose projects include large-scale video installations, single and multi-channel videos, sculpture, and photography. She investigates our psychological and societal relationships to mild and severe atmospheric and oceanic phenomena and our changing climate. She has traveled to five continents, including Antarctica, to film for her projects. Friedman is currently based in Boston and has lived, worked, and exhibited nationally and internationally. Her fellowships and awards include: Artist Traveling Fellowship to Antarctica (SMFA/Tufts, 2017), Mass Cultural Council grants in Sculpture/Installation (2013) and Film/Video (2019); City of Boston Artist-in-Residence (2016); A.R.T. Grant Award, Berkshire Taconic Foundation (2010, 2019); along with commissions for over fifteen video-based public art pieces. She earned her M.F.A. from the School of the Museum of Fine Arts, Tufts University, and her B.A. from University of California, Santa Cruz. Friedman is currently a Lecturer in the Art, Culture and Technology program at MIT.

Dennis H. Miller is an emeritus faculty member of Northeastern University in Boston and is active as an animator, still graphic artist, composer and photographer. His visual works, which can be found at www.dennishmiller.com, often exhibit principles drawn from music composition. Miller’s fine-art animations have been screened at venues throughout the world, most recently at Design Indaba Africa (Cape Town), the New York Digital Salon Traveling Exhibit, Abstracta International Abstract Cinema Exhibition (Cairo, EGYPT), Images du Nouveau Monde, CYNet Art Festival (Dresden, GR), Videoex Festival (Zurich SWZ), the Cuban International Festival of Music, and Magmart | International Festival of VideoArt (Naples, IT). His work is also cited in recent publications including Sonic Graphics: Seeing Sound (Rizzoli Books) and Art in the Digital Age (Thames and Hudson).

Renee Silva is a visual artist and educator in Providence, RI and the Boston area. She is an honors graduate of Mass College of Art where she received her BFA in 2016. Her work has been shown at the Harvard Ed Portal in Allston, MA, The Boston Convention Center hosted by Boston Cyberarts, and the Philadelphia Academy of Fine Arts. In addition to her studio and teaching practice, Renee has a hand-painted line of apparel found at www.nippygibbler.com. Her work can be viewed at www.reneesilva.com.

Daniel Alexander Smith is a visual artist based in Boston, MA. He is currently a Design Fellow at Studio Echelman, where he works on design and project management for sculpture at city-scale. In 2016, he completed an MFA Fellowship at Indiana University. In 2015 he co-founded Paper-Thin, an experimental, A.R. platform for remote artist collaborations. Daniel's artwork has been exhibited nationally and internationally at venues including the Indianapolis Museum of Art, The University of Richmond Museums, the CICA Museum in Gyeonggi-do, South Korea, SIGGRAPH, Illuminus Boston, Boston Cyberarts, the Festival Internacional de Linguagem Eletronica in SãoPaulo, Brazil, the Athens Digital Arts Festival in Athens, Greece, as well as universities and galleries across the country. Recent works include Expansion, an interactive audiovisual projection on Boston's iconic 175 Federal building; Euclidean Mind, a 4x life-scale carved wooden sculpture inspired by the Brothers Karamazov; and Four and No Waves, a time-based installation addressing how computers shape human perception.

Mark J. Stock is an artist, scientist, and programmer who creates still and moving images and objects combining elements of nature, physics, chaos, computation, and algorithm. His work explores the tension between the natural world and its simulated counterpart, between organic and inorganic, digital and analog, and structure and fluid. Mark eschews the 'black box' nature of commercial software---his work is exclusively created with scientifically-accurate research software, mostly of his own design. He has been showing work since 2000 and has been in over 90 curated and juried exhibitions since 2001, including Ars Electronica, ASPECT Magazine, Illuminus, Red Dot Design Museum, and seven SIGGRAPH Art Galleries. He has spoken at numerous scientific, graphics, and art conferences and workshops, and has published papers in a variety of fields. Mark completed his PhD in Aerospace Engineering at the  University of Michigan in 2006 and lives and works in Boston, Massachusetts.