The Ulsan Art Museum Media Screen Project was conceived as part of an outdoor exhibition program first launched in 2026, with the aim of expanding the museum’s exhibition domain into the public sphere. If exhibitions have traditionally been organized within the institutional space of the museum, the Media Screen Project seeks to consider how art might permeate everyday life more naturally by transforming spaces outside the museum into sites of display. 

Ulsan Art Museum selected Turkish-born artist Refik Anadol as the first participating artist of this project. Refik Anadol has continuously produced work that translates vast quantities of data into visual and sculptural language through the use of artificial intelligence and machine learning technologies. The work presented in this project, Large Nature Model: Immersive Edition, is based on the generative AI model of the same name—Large Nature Model (hereafter LNM)—developed by Refik Anadol Studio. Over approximately two years, Anadol and his studio collected more than 500 million images of nature, 400 hours of sound data, and 3D data scanned using LiDAR sensors; they then spent about a year selecting and processing data with verified sources and licenses to complete the training dataset. 

In 2008, he first introduced the term “data painting,” using vast datasets as inexhaustible pigment and algorithms as thinking brushes to render worlds that cannot be seen. The unpredictable, hallucinatory, and fantastical visual experiences generated as data—serving as a kind of pigment—passes through algorithmic computational structures blur the boundaries between nature and technology, and between the physical and virtual worlds. 

Such experiences are also connected to the conditions through which we perceive the world today. Data is no longer merely information but has become a foundation for interpreting and predicting the world. We relate to the world through data, while our behaviors and cognitive responses are simultaneously recorded as data and incorporated back into algorithmic structures. Within these conditions of the present era, Anadol approaches artificial intelligence not as an object of caution but as a medium that expands our senses and imagination. The fluid landscapes that unfold across the canvas of media do not conceal anxieties about the approaching age of data; rather, they gesture optimistically toward seeking new possibilities within it.