BÆUTY IS CH∆ØS
This is where everything started.
The source images come from Instagram. Beauty industry influencers — faces calibrated for algorithm approval, posture and saturation and light all engineered to pass. I take those images and erase them.
Not filter. Not distort. Erase. The glitch is an act of iconoclasm — a deliberate destruction of the image as it was built to be seen. Generative scripts and databending tear through the photograph until the face that was there is gone. What the erasure leaves behind is something else entirely. A new figure. Unknown, not Untitled. They lost the name the image gave them and in that loss became something the original photograph was specifically designed to prevent: presence without performance.
Destruction and creation from the same act. The blade and the birth.
B̶e̶a̶u̶t̶y̶ ̶a̶s̶ ̶f̶o̶r̶m̶u̶l̶a̶.̶ B̶e̶a̶u̶t̶y̶ ̶a̶s̶ ̶c̶o̶d̶e̶.̶ B̶e̶a̶u̶t̶y̶ ̶a̶s̶ ̶c̶o̶n̶c̶e̶p̶t̶ ̶t̶o̶ ̶b̶e̶ ̶r̶e̶p̶r̶o̶g̶r̶a̶m̶m̶e̶d̶,̶ ̶t̶o̶ ̶b̶e̶ ̶r̶e̶i̶m̶a̶g̶i̶n̶e̶d̶,̶ ̶t̶o̶ ̶b̶e̶ ̶r̶e̶c̶l̶a̶i̶m̶e̶d̶.̶ What the algorithm made disappears. What the glitch makes in its place has no formula, no code, no programme. Just the raw fact of existing in the wreckage of a beauty standard that couldn't hold.
This is BÆUTY IS CH∆ØS. The thorn sense of beauty, where it all began.
TODAY'S INFLUENCERS WILL BE REPLACED BEFORE THE FUNERAL FLOWERS WITHER 🪞🥀
DØM B∆RR∆ — BÆUTY IS CH∆ØS — Requiem for an Influencer, 2022
B̶Æ̶U̶T̶Y̶ ̶∆̶S̶ ̶∆̶ ̶F̶Ø̶R̶M̶U̶L̶∆̶
B̶Æ̶U̶T̶Y̶ ̶∆̶S̶ ̶∆̶ ̶C̶Ø̶D̶Ə̶
B̶Æ̶U̶T̶Y̶ ̶∆̶S̶ ̶∆̶ ̶C̶Ø̶N̶C̶Ə̶P̶T̶
BÆUTY IS CH∆ØS
RƏ/PRØGR∆M THƏ FØRMÜL∆
DƏ/CØDƏ THƏ CØDƏ
DƏ/CØNSTRÜCT THƏ CØNCƏPT.
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 33, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 39, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 45, 2024
2022 — Ongoing
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 11, 2022
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 16, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 17, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 18, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 19, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 20, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 21, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 22, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 23, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 24, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 25, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 26, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 28, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 29, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 30, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 31, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 33, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 39, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 52, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 53, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 54, 2023
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 55, 2023
2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 8, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 12, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 14, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 27, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 45, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 60, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 61, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 62, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 63, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 64, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 65, 2024 — BAU N°20
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 66, 2024 — BAU N°20
2021 — Origins
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 1, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 2, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 4, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 5, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 6, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 7, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 9, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 10, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 15, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 32, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 34, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 35, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 36, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 37, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 38, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 40, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 41, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 42, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 44, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 46, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 47, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 50, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 51, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 56, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 57, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 58, 2021
DØM B∆RR∆ — BÆUTY IS CH∆ØS ㄩ几Ҝ几ㄖ山几 59, 2021
The glitch as a blade to cut through the pixels of the iconic shots of Instagram influencers until they become unrecognisable. Hauntingly beautiful, but just perfectly unknowns.
THƏ PHØTØGR∆PHIC GƏSTÜRƏ
Before the ghost there was a pose. The phone held just above the eyes. Chin down, head tilted a few degrees, the face turned three-quarters to the lens. A ring light to flatten the skin, a catchlight to wake the eye. Strike a pose. Ready. Shoot. Click. Then the screen: swipe for a filter, push the saturation, lift the shadows, smooth whatever is left. Beauty as formula was never only a canon of proportions. It was a protocol of shooting — a grammar of angles, light and presets, learned from the feed and rewarded by it.
Under the protocol, the code. A photograph on a phone is not just a picture. It is a file: pixels packed into blocks, compressed by a standard, written in a format the device agrees to read. The filter is code acting on code. The algorithm that decides who is seen is code reading code. Approving. Delivering. Rewarding.
That is where the glitch goes in. Databending and generative scripts erase the subject — but not only the face. They attack the file that carries it: the format, the compression, the order of the bytes. The very photographic gesture behind it. What breaks is every layer of the formula at once: the act, the pose, the light, the filter, the standard.
F0T0GƏN/∆ begins where this ends. Here, real people performed for the camera and the glitch erased the iconic performance. There, no one ever stood in front of a lens: the subjects are generated, the gesture simulated from the start — and the glitch, instead of exposing the fake, makes it almost real. Gives it a presence. Brings it to life.
On the method
Source: Instagram images of beauty-industry influencers. Process: generative scripts and databending, pushed until the original face is erased. The glitch is used as a blade, not a filter: what it cuts away is the performance; what remains is a figure with no name. From perfectly famous to un/perfectly unknown.