When NUBPLUS describes himself as a “Muralist, Sculptor, Algo-Maker,” the order is more than biography—it’s a map of evolution. His path from painting vast walls to sculpting clay to shaping algorithms tells a story about the persistence of form, and how gestures once traced in pigment and earth now reappear in the digital realm as logic and pattern.

Based in Montenegro, on the Balkan peninsula, NUBPLUS began his creative journey painting murals before studying sculpture and eventually discovering generative art. “At first, my goal was to create designs that could be turned into paintings—it reminded me of my surface-design classes in art school, where one drawing could take days to complete. I wanted to overcome that time limitation. Later, I discovered how supportive the generative-art community is and made some wonderful friends along the way.”

NUBPLUS arrived at generative art through materials. His early works live on large public surfaces and in three-dimensional space, and yet the logic of layering—painting, carving, casting—seems to translate into his digital process.

He made his first sketches in TouchDesigner, a tool he admits wasn’t easy at first. “When I started, my coding knowledge was pretty limited, but I learned over time. I’ve always been comfortable with screens—I’ve been using digital tools since the early 2000s—but they were never the main goal. It’s actually quite different from mural painting. The only real similarity is that in both, you bring your designs to life layer by layer.”

That layered approach, focused on textures, now defines his style. “When I first started, I used to design in a very planned way—choosing a theme and building around it, like a garden or an interactive game. Over time, I began searching for more originality, so now I usually start by exploring textures. If I find one that resonates with me, I complete the piece from there.”

The result is a prolific output. Since 2023, his fxhash profile lists more than two dozen projects, including the series Egos, which stands out for its synthesis of 2D and 3D forms. “The rectangular, two-legged figure I use most often is a symbolic representation of the human form,” he explains. “It originally emerged from my surface-design studies. I’ve used it in paintings and sculptures, and even developed a modular casting system to construct it physically. Egos was about seeing how that same figure behaves at different scales and in different contexts. It deeply influenced my physical art practice.”

The connection between the tactile and the algorithmic runs through all his projects. That bridge between physical and digital finds its most tangible expression in Terra Cotta, a modular ceramic wall piece where each tile can be rotated to form a continuously changing pattern. “The process began digitally—the design was created on a computer, then 3D-printed. From there I made plaster molds to reproduce the clay versions, which were later fired in the kiln. It was a long process, but incredibly inspiring.”

The artist’s fascination with modularity runs through his practice. After Terra Cotta, he also wrote an algorithm that generates relief designs meant for future ceramic realizations—“though I haven’t yet had the chance to produce the physical tiles,” he admits.

Earlier this year, NUBPLUS explored another form of modularity—this time through color. His Dorsa series on Highlight is an ode to chromatic variation and digital materiality.

“I really love the Dorsa collection. I designed it as a kind of mosaic series, fully centered around color. I was curious to see how many different palettes and patterns I could create just through color variation.”

To achieve that, he layered pixelated, randomized gradients with partial opacity, generating new compositions every time. “I randomized their directions and shapes with each output,” he says. “The color palettes were set to 999 unique combinations, and I didn’t limit them—this sometimes caused color repetitions, but it also allowed for endless variation in the final compositions.”

The result is a digital mosaic that feels both spontaneous and systematic, and that can recall works from the Op-Art movement.

The dialogue between form and human presence took center stage in his recent series Together. The 333 items collection released in October on Shape L2 and OpenSea, reinterprets the human figure in crowd formations that oscillate between the figurative and the abstract. “I’d been wanting to create a collection focused on human figures for a long time. I wanted it to feel more like a painting—because I plan to bring these works onto physical canvases. What really drew me in was the interaction between the figures. I sought that same sense of connection within the community.”

The process blended algorithmic rigor with manual curation. “I created low-poly human models and built compositions made up of crowds. Some were simple and orderly, others chaotic. For each model I generated random camera angles, designing an algorithm capable of a wide range of outputs.”
He ultimately hand-selected the final images: “I gathered tons of outputs, filtered them several times, tested resolutions, generated more, and filtered again. In the final stage, I focused on visuals that didn’t repeat and felt distinct.”

NUBPLUS has been actively experimenting across many platforms and blockchains, from Tezos to Bitcoin. “I usually try to adapt my work in different ways,” he says. “Sometimes I tailor a piece to a platform or a particular community’s aesthetic preferences. I try to stay flexible but also preserve my own artistic line. That balance has given me incredible creative richness—and hundreds of designs I’d love to bring into the physical world someday.”

One of those upcoming projects, still under wraps, returns again to clay. “I’ve been working on a generative-sculpture series for quite some time. Technically, it’s finished, but I haven’t been able to share it yet since I couldn’t produce enough physical samples.” He believes it will become a beautiful project where digital and physical art meet.

As our conversation over DMs came to an end, I was struck by the breadth of NUBPLUS’s practice—its ability to move fluidly between wall, clay, and code. His work feels like an ongoing dialogue between touch and computation, and it’s hard not to wonder what form his next gesture will take.

Interview by Rapha - October 2025

When NUBPLUS describes himself as a “Muralist, Sculptor, Algo-Maker,” the order is more than biography—it’s a map of evolution. His path from painting vast walls to sculpting clay to shaping algorithms tells a story about the persistence of form, and how gestures once traced in pigment and earth now reappear in the digital realm as logic and pattern.

Based in Montenegro, on the Balkan peninsula, NUBPLUS began his creative journey painting murals before studying sculpture and eventually discovering generative art. “At first, my goal was to create designs that could be turned into paintings—it reminded me of my surface-design classes in art school, where one drawing could take days to complete. I wanted to overcome that time limitation. Later, I discovered how supportive the generative-art community is and made some wonderful friends along the way.”

NUBPLUS arrived at generative art through materials. His early works live on large public surfaces and in three-dimensional space, and yet the logic of layering—painting, carving, casting—seems to translate into his digital process.

He made his first sketches in TouchDesigner, a tool he admits wasn’t easy at first. “When I started, my coding knowledge was pretty limited, but I learned over time. I’ve always been comfortable with screens—I’ve been using digital tools since the early 2000s—but they were never the main goal. It’s actually quite different from mural painting. The only real similarity is that in both, you bring your designs to life layer by layer.”

That layered approach, focused on textures, now defines his style. “When I first started, I used to design in a very planned way—choosing a theme and building around it, like a garden or an interactive game. Over time, I began searching for more originality, so now I usually start by exploring textures. If I find one that resonates with me, I complete the piece from there.”

The result is a prolific output. Since 2023, his fxhash profile lists more than two dozen projects, including the series Egos, which stands out for its synthesis of 2D and 3D forms. “The rectangular, two-legged figure I use most often is a symbolic representation of the human form,” he explains. “It originally emerged from my surface-design studies. I’ve used it in paintings and sculptures, and even developed a modular casting system to construct it physically. Egos was about seeing how that same figure behaves at different scales and in different contexts. It deeply influenced my physical art practice.”

The connection between the tactile and the algorithmic runs through all his projects. That bridge between physical and digital finds its most tangible expression in Terra Cotta, a modular ceramic wall piece where each tile can be rotated to form a continuously changing pattern. “The process began digitally—the design was created on a computer, then 3D-printed. From there I made plaster molds to reproduce the clay versions, which were later fired in the kiln. It was a long process, but incredibly inspiring.”

The artist’s fascination with modularity runs through his practice. After Terra Cotta, he also wrote an algorithm that generates relief designs meant for future ceramic realizations—“though I haven’t yet had the chance to produce the physical tiles,” he admits.

Earlier this year, NUBPLUS explored another form of modularity—this time through color. His Dorsa series on Highlight is an ode to chromatic variation and digital materiality.

“I really love the Dorsa collection. I designed it as a kind of mosaic series, fully centered around color. I was curious to see how many different palettes and patterns I could create just through color variation.”

To achieve that, he layered pixelated, randomized gradients with partial opacity, generating new compositions every time. “I randomized their directions and shapes with each output,” he says. “The color palettes were set to 999 unique combinations, and I didn’t limit them—this sometimes caused color repetitions, but it also allowed for endless variation in the final compositions.”

The result is a digital mosaic that feels both spontaneous and systematic, and that can recall works from the Op-Art movement.

The dialogue between form and human presence took center stage in his recent series Together. The 333 items collection released in October on Shape L2 and OpenSea, reinterprets the human figure in crowd formations that oscillate between the figurative and the abstract. “I’d been wanting to create a collection focused on human figures for a long time. I wanted it to feel more like a painting—because I plan to bring these works onto physical canvases. What really drew me in was the interaction between the figures. I sought that same sense of connection within the community.”

The process blended algorithmic rigor with manual curation. “I created low-poly human models and built compositions made up of crowds. Some were simple and orderly, others chaotic. For each model I generated random camera angles, designing an algorithm capable of a wide range of outputs.”
He ultimately hand-selected the final images: “I gathered tons of outputs, filtered them several times, tested resolutions, generated more, and filtered again. In the final stage, I focused on visuals that didn’t repeat and felt distinct.”

NUBPLUS has been actively experimenting across many platforms and blockchains, from Tezos to Bitcoin. “I usually try to adapt my work in different ways,” he says. “Sometimes I tailor a piece to a platform or a particular community’s aesthetic preferences. I try to stay flexible but also preserve my own artistic line. That balance has given me incredible creative richness—and hundreds of designs I’d love to bring into the physical world someday.”

One of those upcoming projects, still under wraps, returns again to clay. “I’ve been working on a generative-sculpture series for quite some time. Technically, it’s finished, but I haven’t been able to share it yet since I couldn’t produce enough physical samples.” He believes it will become a beautiful project where digital and physical art meet.

As our conversation over DMs came to an end, I was struck by the breadth of NUBPLUS’s practice—its ability to move fluidly between wall, clay, and code. His work feels like an ongoing dialogue between touch and computation, and it’s hard not to wonder what form his next gesture will take.

Interview by Rapha - October 2025