His long-form project Meridian (2021) released 1,000 editions on Art Blocks, each imagined as a slice of an infinite landscape and named for the Earth's lines of longitude. Vetro Editions published the project as a book that sold out and was reissued in a second edition in 2023.² His related project Subscapes (2021) renders isometric terrain in a pen-plotter-inspired drawing system, an approach the critic A.V. Marraccini has described as prodding the line between nature and artifice.^2,5 In FOLIO (2022), a 100-edition project that renders its output line by line like weaving, he asked collectors to permanently store the code and its random seed on the blockchain, since losing either makes the image unrecoverable.² Bright Moments later exhibited the project in Soho Square, London, in a show its founder praised for its “impeccable craftsmanship”.⁶

In 2024 he released Bitframes, a generative system encoded entirely in 32 bytes and inspired by 1960s computer-art punch cards, as an open-edition crowdfund on Ethereum for a documentary he was producing on the history of generative art. He donated 100 percent of the project's net proceeds to the film, titled Generative, intended to document the stories of aging computer-art pioneers while they were still alive to tell them.⁷ In Sierra (2024) he turned to screen printing as an input to his generative code, a shift he has said left his code “changed, shifted and inspired by the print processes”.^2,8 That same year, in Filigree, he used AI-derived color palettes as inputs to the same generative process, extracting only color and tonality from image-generation models while retaining full control over composition.⁹ DesLauriers traces his broader practice to the generative pioneers Vera Molnar and Georg Nees, as well as to Dadaist poetry and Surrealist chance games.¹ He personally onboarded fellow artist Mark Knol onto Hic et Nunc, and helped William Mapan set up a crypto wallet while the two collaborated on the project Wayfinder.^10,11