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TINSEL TOWN HEROES

Ellen Von Unwerth

Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s
and 2000’s and has made her a staple of fashion photography. Crafting cinematic
scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs
invite viewers to come along on a boisterous escapade. By furnishing each of her
subjects with a new persona to inhabit, she allows their inhibitions to melt
away. The story telling aspect in her creative process has allowed her to create
images that are never static and begs the question, “what is really going on
here?” The inherent sexuality in her images is never without fun, and the
subjects within her works are always powerful - positioned in control of their
sex appeal.

2 ETH

0 / 20 pieces

Fixed Price

February 23rd 2023 | 17:00

Full detailsBuy on opensea

--------------------------------------------------------------------------------




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THE WORLD'S BEST CURATED PHOTOGRAPHY

Quantum Curated
20 ITEMS


TINSEL TOWN HEROES

Ellen Von Unwerth

Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s
and 2000’s and has made her a staple of fashion photography. Crafting cinematic
scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs
invite viewers to come along on a boisterous escapade. By furnishing each of her
subjects with a new persona to inhabit, she allows their inhibitions to melt
away. The story telling aspect in her creative process has allowed her to create
images that are never static and begs the question, “what is really going on
here?” The inherent sexuality in her images is never without fun, and the
subjects within her works are always powerful - positioned in control of their
sex appeal.

Go to Collection
Quantum Curated
20 ITEMS


FUGUE STATE REVISITED

Aline Smithson

Fugue State Revisited, is an on-going exploration of the future legacies of
photography, with a focus on the life span of digital files. After the loss of a
hard drive that held 20 years of analog scans, I received only half the files
back in recovery. The rest of the files were corrupted, each totally unique in
how the machine damages and reinterprets the pixels. This alarming result made
me begin to consider ever-shifting digital platforms and file formats, and I
realized that much of the data we produce today could eventually fall into a
black hole of inaccessibility. The Getty Research Institute states, “While you
are still able to view family photographs printed over 100 years ago, a CD with
digital files on it from only 10 years ago might be unreadable because of rapid
changes to software and the devices we use to access digital content.” As an
analog photographer, rather than let the machine have the last word, I have
cyanotyped over my damaged digital scans. I use silhouettes of portraits from my
archives as a way to conceal and reveal the corruption. By using historical
processes to create a physical object, I guarantee that this image will not be
lost in the current clash between the digital file and the materiality of a
photographic print. Fugue State Revisited calls attention to the fact that
today’s digital files may not retain their original state, or even exist, in the
next century. As we are reliant on technology to keep our images intact for
future generations, it begs the question, who will maintain our hard drives
after we are gone? Will we be able to conserve photographs that speak to family
histories? These are important considerations for our visual futures, as we may
be leaving behind photographs that will be reimagined by machines.

Go to Collection


I SLOWLY WATCHED HIM DISAPPEAR

Jason Hanasik

Right before I made the first image of Sharrod, when he went to his bedroom to
change, his mother turned to me and said, “Whenever he puts on his uniform, I no
longer see my son.” In the winter of 2008 I met Sharrod, who was in his first
year of high school and had recently enrolled in National Junior Reserve
Officer’s Training Corps (NJROTC), a military preparatory program offered in
high schools nationwide. After explaining my connection to the military and that
I was an alum of the same high school that both Sharrod and his mother attended,
I asked if I might photograph Sharrod from his freshman to senior year
(2008-2012). They both agreed and over the course of the next four years,
Sharrod played out his military fantasies for my camera. Sharrod also shared
with me the photographs he was making with his cell phone and notebook doodles
of weapon construction. These private images and examinations rub up against,
color, and compliment the medium format images I’ve made providing the viewer a
fuller image of Sharrod’s journey. Over the course of making the images and
video installations for "I slowly watched him disappear," I wondered about the
process within which the military body is formed both literally but also
psychologically, visually, and emotionally. What is the process of
indoctrination and how does the heavy flow of military marketing messages —
specifically in military towns— foreclose possibilities for a life beyond the
uniform? Furthermore, can one photographically locate the transition from
civilian to member of the military unit?  "I slowly watched him disappear" is
the first part of a multimedia “essay” including photographs, video
installations, nonfiction films, curatorial projects, and texts which organize
my meditations on the fantasy, construction, and deconstruction of the military
body and its effects on the broader culture.


BEYOND THE VEIL

Ella Barnes

Beyond the Veil is simultaneously a melding of mediums as a means to sculpt with
light, and an attempt to capture the fabric of reality. I work with cyanotype,
an alternative photography process that yields blue- toned impressions when
exposed to UV light. Cyanotype allows me to interact directly with light, one of
the most subtle phenomena we experience day to day. Combined with sculpture,
collage and drawing, the cyanotype process is a powerful creative tool fueled by
the sun. Working with light and shadow is to become aware of how they describe
our reality. Created over the past eight months, this collection has been my
safe haven from the world. A finger on the pulse of something deeper than the
chaotic rhythm of daily life, an album of captive sunlight and experiences
preserved in blue. The stillness of winter sunlight, silent rolling waves, a
slow, even breath. I hope you too can find solace here.


UNCENSORED

AdeY

Swedish-British artist AdeY studies subjects such as human balance, strength and
physics. Photographing subjects undressed, AdeY’s non-sexualized representation
challenges our perceptions of the body, highlighting our vulnerabilities,
loneliness, and strengths that are central to the human condition.


FUGUE STATE REVISITED

Aline Smithson

Fugue State Revisited, is an on-going exploration of the future legacies of
photography, with a focus on the life span of digital files. After the loss of a
hard drive that held 20 years of analog scans, I received only half the files
back in recovery. The rest of the files were corrupted, each totally unique in
how the machine damages and reinterprets the pixels. This alarming result made
me begin to consider ever-shifting digital platforms and file formats, and I
realized that much of the data we produce today could eventually fall into a
black hole of inaccessibility. The Getty Research Institute states, “While you
are still able to view family photographs printed over 100 years ago, a CD with
digital files on it from only 10 years ago might be unreadable because of rapid
changes to software and the devices we use to access digital content.” As an
analog photographer, rather than let the machine have the last word, I have
cyanotyped over my damaged digital scans. I use silhouettes of portraits from my
archives as a way to conceal and reveal the corruption. By using historical
processes to create a physical object, I guarantee that this image will not be
lost in the current clash between the digital file and the materiality of a
photographic print. Fugue State Revisited calls attention to the fact that
today’s digital files may not retain their original state, or even exist, in the
next century. As we are reliant on technology to keep our images intact for
future generations, it begs the question, who will maintain our hard drives
after we are gone? Will we be able to conserve photographs that speak to family
histories? These are important considerations for our visual futures, as we may
be leaving behind photographs that will be reimagined by machines.

THE WORLD'S BEST CURATED PHOTOGRAPHY

Quantum Curated
20 ITEMS


TINSEL TOWN HEROES

Ellen Von Unwerth

Ellen Von Unwerth’s thirty-year storied career defined the aesthetic of the 90’s
and 2000’s and has made her a staple of fashion photography. Crafting cinematic
scenarios for her shoots, Von Unwerth’s flashy, kinky, and humorous photographs
invite viewers to come along on a boisterous escapade. By furnishing each of her
subjects with a new persona to inhabit, she allows their inhibitions to melt
away. The story telling aspect in her creative process has allowed her to create
images that are never static and begs the question, “what is really going on
here?” The inherent sexuality in her images is never without fun, and the
subjects within her works are always powerful - positioned in control of their
sex appeal.

Go to Collection
Quantum Curated
20 ITEMS


FUGUE STATE REVISITED

Aline Smithson

Fugue State Revisited, is an on-going exploration of the future legacies of
photography, with a focus on the life span of digital files. After the loss of a
hard drive that held 20 years of analog scans, I received only half the files
back in recovery. The rest of the files were corrupted, each totally unique in
how the machine damages and reinterprets the pixels. This alarming result made
me begin to consider ever-shifting digital platforms and file formats, and I
realized that much of the data we produce today could eventually fall into a
black hole of inaccessibility. The Getty Research Institute states, “While you
are still able to view family photographs printed over 100 years ago, a CD with
digital files on it from only 10 years ago might be unreadable because of rapid
changes to software and the devices we use to access digital content.” As an
analog photographer, rather than let the machine have the last word, I have
cyanotyped over my damaged digital scans. I use silhouettes of portraits from my
archives as a way to conceal and reveal the corruption. By using historical
processes to create a physical object, I guarantee that this image will not be
lost in the current clash between the digital file and the materiality of a
photographic print. Fugue State Revisited calls attention to the fact that
today’s digital files may not retain their original state, or even exist, in the
next century. As we are reliant on technology to keep our images intact for
future generations, it begs the question, who will maintain our hard drives
after we are gone? Will we be able to conserve photographs that speak to family
histories? These are important considerations for our visual futures, as we may
be leaving behind photographs that will be reimagined by machines.

Go to Collection


I SLOWLY WATCHED HIM DISAPPEAR

Jason Hanasik

Right before I made the first image of Sharrod, when he went to his bedroom to
change, his mother turned to me and said, “Whenever he puts on his uniform, I no
longer see my son.” In the winter of 2008 I met Sharrod, who was in his first
year of high school and had recently enrolled in National Junior Reserve
Officer’s Training Corps (NJROTC), a military preparatory program offered in
high schools nationwide. After explaining my connection to the military and that
I was an alum of the same high school that both Sharrod and his mother attended,
I asked if I might photograph Sharrod from his freshman to senior year
(2008-2012). They both agreed and over the course of the next four years,
Sharrod played out his military fantasies for my camera. Sharrod also shared
with me the photographs he was making with his cell phone and notebook doodles
of weapon construction. These private images and examinations rub up against,
color, and compliment the medium format images I’ve made providing the viewer a
fuller image of Sharrod’s journey. Over the course of making the images and
video installations for "I slowly watched him disappear," I wondered about the
process within which the military body is formed both literally but also
psychologically, visually, and emotionally. What is the process of
indoctrination and how does the heavy flow of military marketing messages —
specifically in military towns— foreclose possibilities for a life beyond the
uniform? Furthermore, can one photographically locate the transition from
civilian to member of the military unit?  "I slowly watched him disappear" is
the first part of a multimedia “essay” including photographs, video
installations, nonfiction films, curatorial projects, and texts which organize
my meditations on the fantasy, construction, and deconstruction of the military
body and its effects on the broader culture.


BEYOND THE VEIL

Ella Barnes

Beyond the Veil is simultaneously a melding of mediums as a means to sculpt with
light, and an attempt to capture the fabric of reality. I work with cyanotype,
an alternative photography process that yields blue- toned impressions when
exposed to UV light. Cyanotype allows me to interact directly with light, one of
the most subtle phenomena we experience day to day. Combined with sculpture,
collage and drawing, the cyanotype process is a powerful creative tool fueled by
the sun. Working with light and shadow is to become aware of how they describe
our reality. Created over the past eight months, this collection has been my
safe haven from the world. A finger on the pulse of something deeper than the
chaotic rhythm of daily life, an album of captive sunlight and experiences
preserved in blue. The stillness of winter sunlight, silent rolling waves, a
slow, even breath. I hope you too can find solace here.


UNCENSORED

AdeY

Swedish-British artist AdeY studies subjects such as human balance, strength and
physics. Photographing subjects undressed, AdeY’s non-sexualized representation
challenges our perceptions of the body, highlighting our vulnerabilities,
loneliness, and strengths that are central to the human condition.


FUGUE STATE REVISITED

Aline Smithson

Fugue State Revisited, is an on-going exploration of the future legacies of
photography, with a focus on the life span of digital files. After the loss of a
hard drive that held 20 years of analog scans, I received only half the files
back in recovery. The rest of the files were corrupted, each totally unique in
how the machine damages and reinterprets the pixels. This alarming result made
me begin to consider ever-shifting digital platforms and file formats, and I
realized that much of the data we produce today could eventually fall into a
black hole of inaccessibility. The Getty Research Institute states, “While you
are still able to view family photographs printed over 100 years ago, a CD with
digital files on it from only 10 years ago might be unreadable because of rapid
changes to software and the devices we use to access digital content.” As an
analog photographer, rather than let the machine have the last word, I have
cyanotyped over my damaged digital scans. I use silhouettes of portraits from my
archives as a way to conceal and reveal the corruption. By using historical
processes to create a physical object, I guarantee that this image will not be
lost in the current clash between the digital file and the materiality of a
photographic print. Fugue State Revisited calls attention to the fact that
today’s digital files may not retain their original state, or even exist, in the
next century. As we are reliant on technology to keep our images intact for
future generations, it begs the question, who will maintain our hard drives
after we are gone? Will we be able to conserve photographs that speak to family
histories? These are important considerations for our visual futures, as we may
be leaving behind photographs that will be reimagined by machines.


I SLOWLY WATCHED HIM DISAPPEAR

Jason Hanasik

Right before I made the first image of Sharrod, when he went to his bedroom to
change, his mother turned to me and said, “Whenever he puts on his uniform, I no
longer see my son.” In the winter of 2008 I met Sharrod, who was in his first
year of high school and had recently enrolled in National Junior Reserve
Officer’s Training Corps (NJROTC), a military preparatory program offered in
high schools nationwide. After explaining my connection to the military and that
I was an alum of the same high school that both Sharrod and his mother attended,
I asked if I might photograph Sharrod from his freshman to senior year
(2008-2012). They both agreed and over the course of the next four years,
Sharrod played out his military fantasies for my camera. Sharrod also shared
with me the photographs he was making with his cell phone and notebook doodles
of weapon construction. These private images and examinations rub up against,
color, and compliment the medium format images I’ve made providing the viewer a
fuller image of Sharrod’s journey. Over the course of making the images and
video installations for "I slowly watched him disappear," I wondered about the
process within which the military body is formed both literally but also
psychologically, visually, and emotionally. What is the process of
indoctrination and how does the heavy flow of military marketing messages —
specifically in military towns— foreclose possibilities for a life beyond the
uniform? Furthermore, can one photographically locate the transition from
civilian to member of the military unit?  "I slowly watched him disappear" is
the first part of a multimedia “essay” including photographs, video
installations, nonfiction films, curatorial projects, and texts which organize
my meditations on the fantasy, construction, and deconstruction of the military
body and its effects on the broader culture.


BEYOND THE VEIL

Ella Barnes

Beyond the Veil is simultaneously a melding of mediums as a means to sculpt with
light, and an attempt to capture the fabric of reality. I work with cyanotype,
an alternative photography process that yields blue- toned impressions when
exposed to UV light. Cyanotype allows me to interact directly with light, one of
the most subtle phenomena we experience day to day. Combined with sculpture,
collage and drawing, the cyanotype process is a powerful creative tool fueled by
the sun. Working with light and shadow is to become aware of how they describe
our reality. Created over the past eight months, this collection has been my
safe haven from the world. A finger on the pulse of something deeper than the
chaotic rhythm of daily life, an album of captive sunlight and experiences
preserved in blue. The stillness of winter sunlight, silent rolling waves, a
slow, even breath. I hope you too can find solace here.


UNCENSORED

AdeY

Swedish-British artist AdeY studies subjects such as human balance, strength and
physics. Photographing subjects undressed, AdeY’s non-sexualized representation
challenges our perceptions of the body, highlighting our vulnerabilities,
loneliness, and strengths that are central to the human condition.


FUGUE STATE REVISITED

Aline Smithson

Fugue State Revisited, is an on-going exploration of the future legacies of
photography, with a focus on the life span of digital files. After the loss of a
hard drive that held 20 years of analog scans, I received only half the files
back in recovery. The rest of the files were corrupted, each totally unique in
how the machine damages and reinterprets the pixels. This alarming result made
me begin to consider ever-shifting digital platforms and file formats, and I
realized that much of the data we produce today could eventually fall into a
black hole of inaccessibility. The Getty Research Institute states, “While you
are still able to view family photographs printed over 100 years ago, a CD with
digital files on it from only 10 years ago might be unreadable because of rapid
changes to software and the devices we use to access digital content.” As an
analog photographer, rather than let the machine have the last word, I have
cyanotyped over my damaged digital scans. I use silhouettes of portraits from my
archives as a way to conceal and reveal the corruption. By using historical
processes to create a physical object, I guarantee that this image will not be
lost in the current clash between the digital file and the materiality of a
photographic print. Fugue State Revisited calls attention to the fact that
today’s digital files may not retain their original state, or even exist, in the
next century. As we are reliant on technology to keep our images intact for
future generations, it begs the question, who will maintain our hard drives
after we are gone? Will we be able to conserve photographs that speak to family
histories? These are important considerations for our visual futures, as we may
be leaving behind photographs that will be reimagined by machines.



--------------------------------------------------------------------------------




QUANTUM CANVAS

Visit Digital Art Home

THE FINEST DIGITAL ART, CAREFULLY CURATED BY OUR TEAM OF EXPERTS

Quantum Curated
4 ITEMS


KHUWAB KI TABEER

Maliha Abidi

Khuwab ki Tabeer ‘Interpretation of a dream’ is Maliha Abidi’s latest series.
This collection of 4 NFTs follows a story of a South-Asian girl and all the
things she dreams about because to her, there is no limit, restrictions or
barriers that stand in her way of achieving any of it. Each of the unique art
pieces celebrate Maliha’s heritage as a Pakistani-American artist through use of
distinct elements native to Pakistan’s culture. The series reminds us of our
younger self and takes us back to the times when we used to wonder during the
nights about our dreams, what we want to be and how it’ll escape the challenges
we faced as our young selves. A fifth part (not for sale) to this series is a
piece which follows on from the story where the protagonist reflects and comes
face to face with her inner fearlessness.

Go to Collection
Quantum Curated
10 ITEMS


GAMUT_93

Simon Lazarus

GAMUT-93 is a series of pixel-based video paintings informed by the Op art
movement, primitive computer graphics, and contemporary graffiti. Gravitating
between symbolism and abstraction, the artwork whispers in micro-narratives
through the use of silent haiku charades, hypnotic visual ambience, and vivid
graphic techno.

Go to Collection


PATTERNS OF LIFE

Francien Krieg

Patterns of Life presents work by Dutch contemporary painter Francien Krieg.
Drawing from multiple series, the pieces convey the artist's frank and abiding
interest in the human body. Birth and growth are captured as magical if fleeting
experiences, eventually giving way to maturity, wisdom, and one's reckoning with
mortality. Our bodies are records of all that we've done. Krieg commemorates
each scar and wrinkle a righteous reminder of what it means to live.


SANCTUARY

Skye Nicolas

SANCTUARY is a collection of pixel paintings that investigate the proliferation
and permeation of digitized memory in the post internet age. Its conceptually
layered armature and visually poetic distillation process encourage us to
experience the full bandwidth of a visceral nostalgia in locating the pulse of a
lost paradise we refer to as “our youth”. Remixed source material are reduced to
shimmering pixelated outlines dancing across a contrasting dark digital canvas
co-inhabited by scrolling text (appropriated from 80’s and 90’s era song
lyrics), functioning as internal dialogue and instinctive meta prose. These
motifs operate on the subconscious level wherein the visible and symbolic merge
to produce evocative allusions referred to as vignettes, which are divided into
three categorical types: Moments, Objects, and Mementos. Combining these
vignettes into diptychs and triptychs engenders the transmission of personal
narratives and private myths. Such permutations symbolize the piecing together
of fragmented memories, as if downloading one’s own recollective echo to
ultimately reveal an intrinsic cerebral blueprint—inviting us to reflect and
reconcile with the forces and events that have shaped our present selves.


DISCS

Nicolas Sassoon

Each artwork from SLABS also comes with a corresponding airdrop, titled DISCS.
DISCS are circular compositions based on SLABS, moving away from the rectangular
format to create a more sculptural experience, where each artwork appears like a
hovering spherical object. Finally, there are 50 SLABS in total: 45 of them are
composed and 5 of them are all-overs, making them more unique.


ماه طلعت / MOON-FACED

Morehshin Allahyari

In ancient Persian literature, ماه طلعت (Moon-faced) was a genderless adjective
used to define beauty in both men and women. In contemporary Iran, it refers to
the beauty of women only. In the world of images, something similar happened to
the Qajar dynasty portrait paintings: the modernization of Iran, the influence
of the European tradition of realistic painting, and the use of camera
technology and therefore photography as a model, overshadowed and ended the
queer representation of genders that historically characterized these paintings,
largely known for their gender-undifferentiation. For her project, “ماه طلعت
Moon-faced” Allahyari uses a carefully researched and chosen series of keywords
with a multimodal AI model to generate a series of videos from the Qajar Dynasty
painting archive (1786-1925). Through this collaboration, the machine program
learns to paint new genderless portraits, in the effort to undo and repair a
history of Westernization that ended the course of nonbinary gender
representation in the Persian visual culture. The music in this video was
composed by Mani Nilchiani.

THE FINEST DIGITAL ART, CAREFULLY CURATED BY OUR TEAM OF EXPERTS

Quantum Curated
4 ITEMS


KHUWAB KI TABEER

Maliha Abidi

Khuwab ki Tabeer ‘Interpretation of a dream’ is Maliha Abidi’s latest series.
This collection of 4 NFTs follows a story of a South-Asian girl and all the
things she dreams about because to her, there is no limit, restrictions or
barriers that stand in her way of achieving any of it. Each of the unique art
pieces celebrate Maliha’s heritage as a Pakistani-American artist through use of
distinct elements native to Pakistan’s culture. The series reminds us of our
younger self and takes us back to the times when we used to wonder during the
nights about our dreams, what we want to be and how it’ll escape the challenges
we faced as our young selves. A fifth part (not for sale) to this series is a
piece which follows on from the story where the protagonist reflects and comes
face to face with her inner fearlessness.

Go to Collection
Quantum Curated
10 ITEMS


GAMUT_93

Simon Lazarus

GAMUT-93 is a series of pixel-based video paintings informed by the Op art
movement, primitive computer graphics, and contemporary graffiti. Gravitating
between symbolism and abstraction, the artwork whispers in micro-narratives
through the use of silent haiku charades, hypnotic visual ambience, and vivid
graphic techno.

Go to Collection


PATTERNS OF LIFE

Francien Krieg

Patterns of Life presents work by Dutch contemporary painter Francien Krieg.
Drawing from multiple series, the pieces convey the artist's frank and abiding
interest in the human body. Birth and growth are captured as magical if fleeting
experiences, eventually giving way to maturity, wisdom, and one's reckoning with
mortality. Our bodies are records of all that we've done. Krieg commemorates
each scar and wrinkle a righteous reminder of what it means to live.


SANCTUARY

Skye Nicolas

SANCTUARY is a collection of pixel paintings that investigate the proliferation
and permeation of digitized memory in the post internet age. Its conceptually
layered armature and visually poetic distillation process encourage us to
experience the full bandwidth of a visceral nostalgia in locating the pulse of a
lost paradise we refer to as “our youth”. Remixed source material are reduced to
shimmering pixelated outlines dancing across a contrasting dark digital canvas
co-inhabited by scrolling text (appropriated from 80’s and 90’s era song
lyrics), functioning as internal dialogue and instinctive meta prose. These
motifs operate on the subconscious level wherein the visible and symbolic merge
to produce evocative allusions referred to as vignettes, which are divided into
three categorical types: Moments, Objects, and Mementos. Combining these
vignettes into diptychs and triptychs engenders the transmission of personal
narratives and private myths. Such permutations symbolize the piecing together
of fragmented memories, as if downloading one’s own recollective echo to
ultimately reveal an intrinsic cerebral blueprint—inviting us to reflect and
reconcile with the forces and events that have shaped our present selves.


DISCS

Nicolas Sassoon

Each artwork from SLABS also comes with a corresponding airdrop, titled DISCS.
DISCS are circular compositions based on SLABS, moving away from the rectangular
format to create a more sculptural experience, where each artwork appears like a
hovering spherical object. Finally, there are 50 SLABS in total: 45 of them are
composed and 5 of them are all-overs, making them more unique.


ماه طلعت / MOON-FACED

Morehshin Allahyari

In ancient Persian literature, ماه طلعت (Moon-faced) was a genderless adjective
used to define beauty in both men and women. In contemporary Iran, it refers to
the beauty of women only. In the world of images, something similar happened to
the Qajar dynasty portrait paintings: the modernization of Iran, the influence
of the European tradition of realistic painting, and the use of camera
technology and therefore photography as a model, overshadowed and ended the
queer representation of genders that historically characterized these paintings,
largely known for their gender-undifferentiation. For her project, “ماه طلعت
Moon-faced” Allahyari uses a carefully researched and chosen series of keywords
with a multimodal AI model to generate a series of videos from the Qajar Dynasty
painting archive (1786-1925). Through this collaboration, the machine program
learns to paint new genderless portraits, in the effort to undo and repair a
history of Westernization that ended the course of nonbinary gender
representation in the Persian visual culture. The music in this video was
composed by Mani Nilchiani.


PATTERNS OF LIFE

Francien Krieg

Patterns of Life presents work by Dutch contemporary painter Francien Krieg.
Drawing from multiple series, the pieces convey the artist's frank and abiding
interest in the human body. Birth and growth are captured as magical if fleeting
experiences, eventually giving way to maturity, wisdom, and one's reckoning with
mortality. Our bodies are records of all that we've done. Krieg commemorates
each scar and wrinkle a righteous reminder of what it means to live.


SANCTUARY

Skye Nicolas

SANCTUARY is a collection of pixel paintings that investigate the proliferation
and permeation of digitized memory in the post internet age. Its conceptually
layered armature and visually poetic distillation process encourage us to
experience the full bandwidth of a visceral nostalgia in locating the pulse of a
lost paradise we refer to as “our youth”. Remixed source material are reduced to
shimmering pixelated outlines dancing across a contrasting dark digital canvas
co-inhabited by scrolling text (appropriated from 80’s and 90’s era song
lyrics), functioning as internal dialogue and instinctive meta prose. These
motifs operate on the subconscious level wherein the visible and symbolic merge
to produce evocative allusions referred to as vignettes, which are divided into
three categorical types: Moments, Objects, and Mementos. Combining these
vignettes into diptychs and triptychs engenders the transmission of personal
narratives and private myths. Such permutations symbolize the piecing together
of fragmented memories, as if downloading one’s own recollective echo to
ultimately reveal an intrinsic cerebral blueprint—inviting us to reflect and
reconcile with the forces and events that have shaped our present selves.


DISCS

Nicolas Sassoon

Each artwork from SLABS also comes with a corresponding airdrop, titled DISCS.
DISCS are circular compositions based on SLABS, moving away from the rectangular
format to create a more sculptural experience, where each artwork appears like a
hovering spherical object. Finally, there are 50 SLABS in total: 45 of them are
composed and 5 of them are all-overs, making them more unique.


ماه طلعت / MOON-FACED

Morehshin Allahyari

In ancient Persian literature, ماه طلعت (Moon-faced) was a genderless adjective
used to define beauty in both men and women. In contemporary Iran, it refers to
the beauty of women only. In the world of images, something similar happened to
the Qajar dynasty portrait paintings: the modernization of Iran, the influence
of the European tradition of realistic painting, and the use of camera
technology and therefore photography as a model, overshadowed and ended the
queer representation of genders that historically characterized these paintings,
largely known for their gender-undifferentiation. For her project, “ماه طلعت
Moon-faced” Allahyari uses a carefully researched and chosen series of keywords
with a multimodal AI model to generate a series of videos from the Qajar Dynasty
painting archive (1786-1925). Through this collaboration, the machine program
learns to paint new genderless portraits, in the effort to undo and repair a
history of Westernization that ended the course of nonbinary gender
representation in the Persian visual culture. The music in this video was
composed by Mani Nilchiani.



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