Brompton Technology Drives Kim Asendorf's PXL Duo Pod

Brompton Technology's Tessera LED processing underpinned the presentation of German visual artist Kim Asendorf's PXL DUO POD at Art Basel Hong Kong, enabling the work's evolving pixel formations to be shown at scale with the colour fidelity, depth and accuracy the piece demands.

Shown by contemporary art gallery Nguyen Wahed, which operates in New York and London, PXL DUO POD featured within Zero 10, Art Basel’s global initiative spotlighting art of the digital era. Debuting at Art Basel Miami Beach before its Asian outing in Hong Kong, Zero 10 convenes artists, galleries and technologists who are rethinking how technology-led art is made, exhibited and collected.

Conceived as a new chapter in Asendorf’s expanding PXL ecosystem, PXL DUO POD builds on PXL DEX and its cylindrical follow-up, PXL POD. The Duo iteration emerged after Asendorf observed an unexpected visual dialogue when two PXL POD works were placed side by side.

Installed on two adjacent LED displays, PXL DUO POD set parallel generative systems in conversation, letting their colours, motion and pixel densities interplay. Visitors could adjust a control pad to rotate the forms, zoom and change the camera perspective, directly shaping their encounter with the piece.

For Hong Kong, a ROE Visual Topaz 2.6mm LED wall was driven by Brompton’s 4K Tessera SX40 LED processors in tandem with Tessera XD 10G data distribution. This pairing ensured pinpoint rendering of individual points of light, carefully tuned colour palettes and rich black levels, preserving the work’s spatial character and continually shifting detail.

"I create software art meant to run on every device. Brompton Technology changed my mind," said Asendorf. "I care deeply about display quality, but what Brompton controllers bring to LED walls is almost surreal. Now I have a first-choice setup."

Asendorf's collaboration with Brompton began at Art Basel Miami Beach, where his Raster und Spektrum was shown in the inaugural Zero 10 programme. After the artist met the Brompton team during a London demonstration, the gallery requested Brompton's processing for the Miami Beach outing. Fuse Technical Group oversaw technical management and introduced the team to Absen, whose LED panels were paired with Brompton processing to achieve the deep blacks and crisp pixel separation integral to Asendorf's practice.

"I had the chance to bring Kim, along with the artist Leander Herzog, to visit Brompton in London and it was a great opportunity to see artists connect with a technology behind the display. Kim's work relies on subtle differences in colour, extremely deep blacks and the clear separation of individual pixels," said Matthew Ward from Fuse Technical Group. "Fuse provided technical management for the Miami Beach presentation and introduced the team to Absen, while the more recent Hong Kong installation used ROE Visual Topaz LED panels. Brompton processing was the common element across both presentations, helping preserve the depth, detail and distinctive visual character of Kim’s work across two different premium LED walls."

The evolution from PXL DEX to PXL POD and now PXL DUO POD reflects a broader shift in digital art, where software, interactivity, physical installation and display technology collectively form the artwork. As a result, the screen becomes more than a surface; faithful colour reproduction, contrast, motion handling and processing are vital to honouring the artist’s intent.

"I was fortunate to be in the room when Kim visited our London headquarters with Matthew," concluded Rob Fowler, Director of Business Development at Brompton Technology. "It was fascinating to learn more about this rapidly growing area of art as well as see how the work we have been doing over the lifetime of Brompton Technology to enhance accuracy and faithful image reproduction dovetails with the work Kim is creating.

"Seeing his response to our tools, and the pleasure he took in viewing his work rendered on LED using features we have developed over more than a decade, was hugely gratifying. It demonstrated how processing can become integral to the way an artwork is experienced, rather than simply a means of displaying content."

bromptontech.com