HONG KONG: Brompton Technology Tessera LED processing played a central role in bringing German visual artist Kim Asendorf’s interactive PXL DUO POD to life at Art Basel Hong Kong, providing the processing precision required to reproduce its evolving pixel structures, carefully developed colour palettes and deep black backgrounds on a large-scale LED canvas.

Presented by New York and London-based contemporary art gallery Nguyen Wahed as part of Zero 10, Art Basel’s global initiative dedicated to art of the digital era, PXL DUO POD marked the Asian debut of a work that had previously been presented at Art Basel Miami Beach. The installation forms part of Asendorf’s expanding PXL ecosystem, following PXL DEX and the cylindrical PXL POD.

The work comprises two LED screens positioned side by side, each displaying an evolving visual system whose colours, movement and pixel density interact with the adjacent display. Visitors can actively manipulate the experience using a control pad to rotate the forms, zoom in and change the camera angle, making the display technology an integral part of the artwork rather than simply a medium for presenting finished content.

For the Hong Kong presentation, a ROE Visual Topaz 2.6mm LED system was driven by Brompton’s 4K Tessera SX40 LED processors and Tessera XD 10G data distribution units. The combination provided the control required to reproduce individual points of light, nuanced colour transitions and deep black backgrounds while retaining the spatial depth and constantly changing detail of Asendorf’s work.

“I create software art meant to run on every device. Brompton Technology changed my mind,” says 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.”

The relationship between Asendorf and Brompton began at Art Basel Miami Beach, where his work Raster und Spektrum was presented during the inaugural Zero 10 programme. Following a demonstration at Brompton’s London headquarters, Nguyen Wahed requested the company’s processing technology for the Miami Beach presentation. Fuse Technical Group provided technical management and introduced the project team to Absen, resulting in an installation using Absen LED panels paired with Brompton LED processing.

For the Hong Kong presentation, the LED technology changed to ROE Visual Topaz, while Brompton processing remained the common element between the two installations.

“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,” says 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 of Asendorf’s PXL ecosystem—from PXL DEX and PXL POD through to PXL DUO POD—also highlights the increasingly interconnected relationship between software, interaction, physical installation and display technology in contemporary digital art. In this context, accurate colour reproduction, contrast, motion handling and image processing become fundamental to preserving the artist’s intent.

“I was fortunate to be in the room when Kim visited our London headquarters with Matthew,” concludes 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.”

Asendorf’s PXL ecosystem continues to evolve, with PXL DEX, PXL POD and the latest addition, PXL NET, now forming part of his exhibition at NODE in Palo Alto, running from 11 July to 13 September 2026.