Sandra Bamboo did not set out to make an artwork. On a Friday evening in October 2026 she was frustrated with another personal project, one where she kept spending hours on improvements that were barely noticeable, and she wanted to make something just for fun. By the following Monday she had published SYNFIELD, a browser piece with 16 interactive worlds of light, matter and sound. It now has 20.
Bamboo is an independent artist based in Mataró, in the Barcelona area. She works in digital marketing, where, as she puts it, almost everything is supposed to have a purpose, an objective or a measurable result. SYNFIELD came out of the opposite wish. “I think I needed to create something that went completely against that,” she says.
It began with a webcam. She had been trying out MediaPipe, a library that follows a hand, to steer visuals with her movements. The plan was a simple drawing canvas, but she got carried away. The homepage now states the terms plainly: “No goals. No set path to follow.” There are no levels or scores, and nothing to install, no account to make and no ads. The camera is optional, and according to the site hand tracking runs in the browser and never uploads or records the image.
Three actions cover most of it: move, hold, release. Bamboo chose Nebula to show what that means. Move the cursor through the cloud and the particles shift away, but they never quite lose their link to it, so it feels like pushing something soft that changes shape around your hand. Press and hold, and the light contracts. Let go, and there is what she calls a kind of explosion as the particles spread out and return to where they were. The mouse wheel, or opening and closing a hand in front of the camera, expands and contracts the whole cloud.
She wanted something enormous to feel almost touchable, “having the universe in your hands”. The texture she was after is hard to name. “It’s a bit like playing with modelling clay, although not exactly,” she says, soft and malleable but not too jelly-like.
The other worlds each get their own rule. Vortex, which started as “a very basic fidget spinner”, asks you to catch the core and circle to wind it up; let go and it keeps spinning. In Matter an open palm pushes thousands of particles away and a fist draws them in. Liquid Light keeps the wake of a touch like water that remembers. In Constellation, sparking one star sends light travelling from star to star.
Bamboo has no system for deciding that a world is needed. Sometimes she has a particular image or sensation in mind, and sometimes an experiment turns up something good. She has thrown away plenty that looked beautiful but did not feel right, which she compares to finding a fidget toy you love: you cannot always say why one satisfies and another does not. “I guess a world is ready when I feel that something myself.”
She usually starts with how a thing looks and moves, then tries to give it an imaginary materiality, so that you feel you are pushing something soft or moving through something rough. Sound tends to come later and mostly builds atmosphere. She used to make music, and says she has always been interested in how sound can change an experience. Soundscape went the other way round. It began as the idea of a sound garden, and on the site it is a night pond where bells, rain and small creatures keep sounding even when nobody is there.
SYNFIELD is built with WebGL2, Three.js, the Web Audio API and MediaPipe Hands. Bamboo is responsible for the creative direction, visuals, interactions, code and sound, and there are no other human collaborators. She also uses AI-assisted tools, mainly Claude, Cursor and Codex, for programming and iteration, and says so openly. She still sees herself as the one who obsesses over details: “I’m not sure even Claude would spend so much time trying to make a nebula feel just the right amount of soft.”
Why the browser? Because the same piece changes with where and how it is opened. On a phone or a large computer screen it is the same artwork and a different experience, she says, and so is opening it alone in a dark room or in daylight with friends nearby. Anyone can reach it from wherever they are without knowing anything about art. SYNFIELD has not been shown outside the browser. She would like to try a physical installation one day and does not see the two formats as competing.
The project has begun to attract notice. Website Design Awards lists it as a winner in its Experimental category, dated 19 October 2026, and Sketchure Magazine has written about it. The site is available in seven languages.
Asked whom she pictures opening it, Bamboo does not name one kind of visitor. She likes the idea of someone finding it by accident and thinking, “Wow, this exists?” She made it free, she says, because she did not want to ask people for something in return. “I think the internet should have more little corners like that.” And then a modest hope: “Maybe SYNFIELD doesn’t need to be useful. But I’d love it to mean something to someone.”
SYNFIELD is at synfield.space. It opens in any browser on a computer, tablet or phone. Images in this profile are used with Sandra Bamboo’s permission and credited as she asked.
