Vincent Rang (1989) is an experimental visual artist working primarily with moving image. His practice revolves around the interplay between sound and image, exploring themes such as time, scale, and natural patterns. He captures and reimagines the subtle movements of nature — wind currents, blooming flowers, water flows, rock formations — to create abstract audio-visual experiences that invite emotional engagement and open interpretation.
In one of his ongoing live projects, Rang uses a water-filled aquarium to create fluid, evolving “moving paintings” with ink, plants and light. This work led to the release of the Home audiovisual album in collaboration with Boris Acket, performed at venues like Het Muziekgebouw and Nxt Museum in the Netherlands.

MONOLITH is an experimental installation in which chemical processes create organic and eternally morphing landscapes and life-like creatures. These reactions are generated and projected live onto a large screen, accompanied by a musical composition — or live performance — by pianist Helena Basilova and sound artist Shoal.
In 2019, I began experimenting with chemical gardens in my studio. I tested various metal salts — such as copper sulfate and cobalt(II) chloride — in different concentrations of sodium silicate, also known as water-glass. These salts dissolve into the solution and, through buoyancy and osmosis, begin to grow upward, forming gelatinous membranes. I was fascinated by the organic, almost biological shapes that emerged — as if these chemicals were somehow alive.
After much experimentation and research, I came across the work of Stéphane Leduc and his book Mechanism of Life. Leduc was a French physician who, in the early 20th century, conducted extensive studies on chemical gardens. He proposed a radical shift in scientific thinking by suggesting that life-like growth could be generated synthetically, without the need for a so-called “vital force” — a concept widely accepted at the time to explain the organization and development of living organisms.
Leduc’s theory challenged the very nature of what we consider to be “life.” As he put it:
“Since we cannot distinguish the line between life and the rest of nature’s phenomena, we should conclude that this line does not exist — which satisfies the law of continuity between all phenomena.”