Anna Ridler is a London-based artist whose practice investigates how naming, classification, and financial speculation determine what can be seen and what is erased. Working with handmade archives, machine learning, and moving image, she often builds her own datasets - cataloguing ten thousand tulips by hand and collecting every iris indexed by the internet - to expose the labour and ideology embedded in the systems that organise the visible world. Her most recognised works use a neural network trained on those hand-labelled photographs to generate images whose form is controlled by the price of Bitcoin, threading the volatility of seventeenth-century Dutch tulip speculation through contemporary crypto markets. Botanical taxonomy, financial instruments, and machine-vision systems become, across her practice, parallel structures for the same underlying operation: the imposition of different forms order onto the living world, and the collapse or unravelling that eventually follows. Her work is held in the permanent collections of the Whitney Museum of American Art, the Centre Pompidou, the Victoria and Albert Museum, M+ Hong Kong, and ZKM Karlsruhe. Recent solo exhibitions include Time Blooms at the Buk Seoul Museum of Art (2025) and Circadian Bloom at ZKM Karlsruhe (2023). Recent commissions include works for the Schwarzman Centre for the Humanities at the University of Oxford (2026), Kunsthaus Graz, and Diriyah Art Futures, Riyadh. She has exhibited at the Barbican Centre, the Taipei Fine Arts Museum, and the MIT Museum. She is represented by Galerie Nagel Draxler. Ridler was named ABS Digital Artist of the Year in 2025. She holds an MA from the Royal College of Art and a BA in English Literature from Oxford University, and was a European Union EMAP fellow and the winner of the 2018-2019 DARE Art Prize.