Richard
Nadler

Richard Nadler (b. 1987, Penzberg, Germany) is a Munich-based artist whose practice spans artificial intelligence, generative systems, drawing, and embroidery. His work examines the relationship between personal memory, technological image-making, and materiality, exploring how images are constructed, transformed, and experienced across digital and physical media.

Working with custom-trained AI models, Nadler draws on sketches, photographs, and personal archives to develop densely layered compositions. Architectural structures, landscapes, and cultural references, including memories of his childhood travels to Japan, recur throughout his work. Rather than using artificial intelligence simply to automate image production, he develops generative processes in which artistic intention, computational operations, and chance interact.

Nadler translates computationally generated images into large-scale embroideries, connecting contemporary machine learning with a history of textile production closely intertwined with the origins of computing. In the early nineteenth century, the Jacquard loom used punched cards to control intricate textile patterns, a principle that later informed Charles Babbage’s designs for programmable computing. Ada Lovelace famously compared the Analytical Engine’s operations to the weaving of patterns. Nadler’s practice revisits this historical relationship between code and textile, raising questions about automation, authorship, and the relationship between human and machine labour.

His projects include Yamabushi’s Horizons (2023), Izanami Islands (2023), Rōnin (2024), ArchiTextures (2025), and Sanctum Carnis (2025).

His work has been presented at Art Miami and through projects with Bright Moments in Paris, EXPANDED.ART in Berlin, Verse, SuperRare in New York, and Kate Vass Galerie. His work is held in institutional collections, including that of the Francisco Carolinum in Linz, and in private collections, including the Sigg Art Foundation.