One Hundred Thousand Suns  

image of black and white animation on a screen of women and a wire fence

There Are Worlds Out There They Never Told You About

Jackie Karuti



Pip Thornton

Voyager (Micromégas), Thomson & Craighead, 2013

Voyager (Micromégas)

Thomson & Craighead

Married Man, Natasha Caruana, 2008

Married Man

Natasha Caruana

Watching the Watchers, James Bridle, 2013. Multiple mounted colour prints

Watching the Watchers

James Bridle

Photo of multi story wooden tower

A Machine for Living

James Coupe

Listening to Shetland Wool

Felicity Ford

Corruption, Thomson & Craighead, 2014


Thomson & Craighead

Canal Observatory


The spectrum of re-knitting treatments, Amy Twigger Holroyd, 2012. Digital print on paper

The spectrum of re-knitting treatments

Amy Twigger Holroyd

Still Lifes and Oscillators 1, Ben Garrod, 2012. Paint

Still Lifes and Oscillators 1

Ben Garrod

Fairytale for Sale, Natasha Caruana, 2011

Fairytale for Sale

Natasha Caruana

Five 3D printed pale yellow shell-like objects



Three Hundred and Sixty Seconds, Dan Hett, 2016. Algorithmically generated live coding production stills (from an ongoing series)

Three Hundred and Sixty Seconds

Dan Hett

Photo of The Promises Machione a wooden display with embedded screen

The Promises Machine

Rachel Jacobs

Close up of lightbulbs from The Future artwork

The Future

Alicia Eggert and Safwat Saleem

black and white image of booklet called Daemons of the Shadow World

Daemons of the Shadow World

Giles Lane

Mini Rugs and their Friends

Mini Rugs and their Friends

Riitta Oittinen

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

KNITSONIK Stranded Colourwork Sourcebook, Felicity Ford, 2014. Crowd-funded publication

KNITSONIK Stranded Colourwork Sourcebook

Felicity Ford

Transmission series

Transmission One and Transmission Two

Dan Hett

Black and white abstract image

Shadows of the State

Lewis Bush

Illluminated acrylic sculpture of a red-lit person holding a book

The Reader


balck and white photo of sign in countryside landscape

50.080697, -5.694138

Evan Roth

Circular blue, black and white inverted image of tree

Inverted Night Sky

Jeronimo Voss

Twenty Thousand Seconds, Dan Hett, 2016. Algorithmically generated live coding image film (from an ongoing series)

Twenty Thousand Seconds

Dan Hett

image of a screen with four chairs each with a ventriloquists half-masks hanging above each

Recruitment Goes Wrong

Thomson & Craighead

Screen capture of multi-coloured digitally generated flowers


Daniel Brown

Re-knitting step by step guide, Amy Twigger Holroyd, 2012. Digital prints on paper

Re-knitting step by step guide

Amy Twigger Holroyd

image of pylon-like communications tower inverted white out of red

Evan Roth

photo of sensor hanging in a darl room with two screens

Measure for Measure for Measure

David Gauthier

Punchcard Economy, Sam Meech, 2013. ODI: 3.5 x 0.5m knitted banner, FutureEverything: 5 x 3m knitted banner & knitting machines

Punchcard Economy

Sam Meech

Weather Gauge, Thomson & Craighead, 2009

Weather Gauge

Thomson & Craighead

Rates for the Job, Sam Meech, 2016. Order form and performative contractual exchange action 

Rates for the Job

Sam Meech

person in white wearing a sci-fi helmet with lots of protrusions



The Clandestine Purse, Natasha Caruana, 2008

The Clandestine Purse

Natasha Caruana

multicoloured cartoon collage with 3D rendered large golden hand

Unauthorised Copy

Antonio Roberts

Listening to Shetland Wool, Felicity Ford, 2013. Interactive online aporee sound map

Sonic Pattern and the Textility of Code

Felicity Ford

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

Thomson & Craighead

kinetic artwork of a circular wooden base and brass arches with a small brass seasaw with a weight

Allusive Protocols (prototypes)

Julie Freeman

The Doffing Misstress Takes a Stroll, David Littler, 2016. Participatory installation. Piano player, paper scores, materials for contribution

The Doffing Mistress Takes a Stroll

David Littler

Gallery photo of someone in a VR helmet viewing artwork

Substance – A whole history of hollows and reliefs

Phil Coy

Image of an illuminated digital fountain dark blue on black background


Katriona Beales

Gallery installation of multiple photos

The Longest and Darkest of Recollections

Liz Orton

Image of computer generated object in natural woodland


Katriona Beales

image of screen and aerials in gallery

Open Space Observatory

Kei Kreutler and Libre Space Foundation

Installation photo of red frame, number display and construction

53°32’.01N, 003°21’.29W, from the Sea

David Gauthier

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

20Hz, Semiconductor, 2011. HD + HD 3D single channel video. 05.00 minutes



Metrography, Benedikt Groß & Bertrand Clerc, 2012. Print on aluminium


Benedikt Groß and Bertrand Clerc

abstract sculpture in blue and pale pink

Public Protection, Private Collection

Felicity Hammond

Re-knitting 'tester' Jumper, Amy Twigger Holroyd, 2013. Hacked knitted garment

Re-knitting ‘tester’ jumper

Amy Twigger Holroyd

Body 01000010011011110110010001111001, Stanza, 2012. Perspex, Arduino, electronic components, internet connection

Body 01000010011011110110010001111001


Forkbomb, Alex McLean, 2001. Perl script computer code with paper output


Alex McLean

Dystopian digital city landscape

Cover designs for William Gibson’s Neuromancer trilogy

Daniel Brown

Image of ghostly woman on black background (CIPHER artwork)


Katriona Beales

Data as Culture - Art that uses data as a material

One Hundred Thousand Suns

An exhibiton by Rohini Devasher

From 6 May 2022 at the Open Data Institute, London

Rohini Devasher is an artist and amateur astronomer. Her practice, spanning films, drawing and printmaking, maps the antagonism of time and space. It walks the fine line between wonder and the uncanny, foregrounding the ‘strangeness’ of encountering, observing and recording both environment and experience. Between 2021 and 2022 Rohini was Online Artist-in-Residence at the ODI as part of the Evidence and Foresight programme. During her residency she created her major new four-channel film installation One Hundred Thousand Suns, a Data as Culture commission.

“Rohini Devasher’s deep dive into a living data archive shows that it’s not just new data that is important and exciting, data with a long historical tail continues to inform and inspire us.”
– Hannah Redler-Hawes

The exhibiton is accessible to all by appointment during office hours, Monday to Friday, from Friday 6 May 2022.
Email to make an appointment.

Artist Rohini Devasher talks to Hannah Redler-Hawes, curator and director of Data as Culture.

Q: Tell us about ‘One Hundred Thousand Suns’

I wanted to make a work that pushes slightly against the idea of data as detached, disinterested or neutral. As an amateur astronomer, I was also keen to reinforce the notion that data is not new – we’ve been collecting it forever and those histories allow us to explore the collaborative and collective nature of working with data.

Q: You were inspired by the concept of digital twinning, can you say more?

On a planetary scale, digital twinning starts with the presumption that something like the Earth is essentially knowable. It got me thinking about the nature of modelling systems, the distance between the ‘truth’ of a model and what it actually embodies. The title connects to the sense that there may be multiple truths according to the multiple means of observing and collecting data, as well as multiple readings. But the final piece is less of an alternative digital twin and more of a speculative, metaphoric assemblage of ways in which we have recorded and observed the Sun.

Q: Tell us about the 4 ‘paradigms’ explored through each separate channel

Paradigm 1 – Sun Drawings explores the notion of observation as composite using naked-eye drawings created between 1902 and 1904.

Paradigm 2 – Twin Suns considers the Sun as both knowable and unknowable. It focuses on the collections of lost, never to be repeated moments, captured using 19th century glass plate photography.

Paradigm 3 – Site features the instruments and people at the historical Kodaikanal Observatory, some of whom have been observing the Sun for four generations.

Paradigm 4 – Eclipse offers a meditation on the light from our Sun, juxtaposed with the voices of eclipse chasers who devote their lives to standing in the shadow of the Moon.

Q: How has working with ODI Data as Culture influenced your work?

Much of my work looks at the role of ‘observation’ and the ‘field’ or ‘site’. But I had never previously thought of myself as working with data. As an ODI artist in residence, I’ve realised that I do work with data of many different kinds. The ODI has helped me recognise that data is how we observe what we care about. It can be a mirror. It is not a natural phenomenon. We make decisions about what we capture and structure. I was struck that what’s most exciting is the data created not by a single person but through collaborative effort.

View the artwork
Artist profile: Rohini Devasher