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MAR 25

Autofiction: My Collaborator

OPEN

Autofiction: My Collaborator

14 artworks

Autofiction: My Collaborator is a series of fifteen new works by Laurie Simmons. Using an AI model trained on five decades of her work, Simmons prompted the system with her own texts, generating images that reimagined her archive from a machine's perspective. She then selected, altered, and hand-finished each output, folding them back into her practice. The compositions feel unmistakably hers, yet are strangely displaced: a machine's reading of an artistic life, reabsorbed by its author. The series extends questions that have shaped Simmons' practice since the late 1970s, when she emerged as part of the Pictures Generation, which included Cindy Sherman and Richard Prince among many others. From her early tableaux of dolls, puppets, and human stand-ins, she has long explored the gap between the artificial and the authentic. Her subjects, substitutes for the human, expose how identity is shaped from the outside: by advertising, film, television, and domestic fantasy. The staged scene has always been her means of revealing how real life is scripted. In Autofiction: My Collaborator, the non-human agent becomes the first image-maker. The AI outputs are not imitations but uncanny recombinations: familiar motifs (surrogate figures, constructed interiors, bodies of water, theatrical mise-en-scène) resurface in unfamiliar configurations. The works turn on the tension between authorship and collaboration, memory and estrangement, past and future.

blueberry cell phone silk celadon popcorn drift

OPEN

Petra Cortright

blueberry cell phone silk celadon popcorn drift

9 artworks

blueberry cell phone silk celadon popcorn drift is a series of nine paintings and nine corresponding NFTs. Built in Photoshop from layers of brushstroke-like textures, digital effects, and images sourced online, each painting has a sister NFT that shares its imagery but exists as a distinct artwork in a different medium. Together they extend Cortright’s ongoing exploration of how images move between digital and physical forms.

Autofiction: My Collaborator #15

OPEN

Autofiction: My Collaborator #15

Open edition

Autofiction: My Collaborator is a series of fifteen new works by Laurie Simmons. Using an AI model trained on five decades of her work, Simmons prompted the system with her own texts, generating images that reimagined her archive from a machine's perspective. She then selected, altered, and hand-finished each output, folding them back into her practice. The compositions feel unmistakably hers, yet are strangely displaced: a machine's reading of an artistic life, reabsorbed by its author. The series extends questions that have shaped Simmons' practice since the late 1970s, when she emerged as part of the Pictures Generation, which included Cindy Sherman and Richard Prince among many others. From her early tableaux of dolls, puppets, and human stand-ins, she has long explored the gap between the artificial and the authentic. Her subjects, substitutes for the human, expose how identity is shaped from the outside: by advertising, film, television, and domestic fantasy. The staged scene has always been her means of revealing how real life is scripted. In Autofiction: My Collaborator, the non-human agent becomes the first image-maker. The AI outputs are not imitations but uncanny recombinations: familiar motifs (surrogate figures, constructed interiors, bodies of water, theatrical mise-en-scène) resurface in unfamiliar configurations. The works turn on the tension between authorship and collaboration, memory and estrangement, past and future.

MAR 24

Scroll

OPEN

Open edition

Seal is a fully on-chain artwork exploring the relationship between ancient Sinosphere collector seals and blockchains. Seal is about the art of collecting. Using Chainlink oracles, Seal will read your wallet history to decide the rarity of your output. The larger your collection, transaction count, or ETH balance, the rarer your output. Mint your custom seal to participate and join the infinite digital scroll. The scroll is an immutable chain of provenance recording each seal in the order they were minted. Seals act as blocks in the scroll's “blockchain.” Different seal levels grant you different lengths of scroll. While your horizontal position is fixed, you can infinitely grow your section of scroll vertically by getting other people to sign it. Upon minting a seal, you will own one seal and one section of scroll. The master scroll is also available for acquisition. While each participant owns the “ink” of their section, the full “paper” can be owned by one collector. One thousand years before blockchains, Sinosphere collectors inscribed their seals of provenance directly onto the front of artworks. Unlike Western traditions, where only the artist signs their work, these seals transformed artworks into living records of ownership. Unique to the East, ledger and artwork are bound together in shared materiality—a tradition that foreshadows blockchains by millennia. Collectors are invited to create custom cryptographic digital seals that are automatically inscribed onto an infinite collaborative scroll. Upon mint, the collector will receive two NFTs: their seal and their section of the scroll. Different rarities of seals grant collectors different lengths of the scroll. Traditionally positioned at the margins of scrolls, seals here now function as the compositional centrepiece, creating a chain of provenance and an unending generative landscape shaped by successive acts of inscription and cross-cultural collaboration. Closing after a month, the horizontal chain of provenance will be fixed, yet the full scroll can grow infinitely—not horizontally, but vertically. Given the dynamic smart contracts, if a collector acquires an original section of the horizontal scroll, they can sign their seal to that section and grow it. Forming a tree architecture, with a fixed-length trunk but infinite branches, each section will become its own infinite chain of provenance, as collectors compete for the longest section of scroll. Alongside the digital work, Seal includes a series of commissioned, customizable paintings that treat the algorithmic seal simultaneously as a technology and as an art object in itself. Building on the engraving techniques developed in Portraits of a Mind (2019– ), each painting is engraved with the collector's own cryptographic seal, composed of characters derived from the I Ching. The seal becomes the painting, and the painting becomes the seal. Inscribed directly into the painted surface, the paintings become working seals, scaled up to take full territorial control of the art object. From 6.25cm to 2m square, the paintings correspond to different rarities of seals and mix Western and Eastern philosophies of scale, provenance, and the sovereignty of the artist. Seal attempts to break new ground in the history of Chinese landscape painting both aesthetically and technologically. Placing seals as the compositional centrepiece is a radically different structure from the 2,000-year-old tradition of shan shui. Traditionally separate, this fusion of seals and landscape—and its live indexing on the blockchain as a generative digital artwork—is novel. Using the language of microchips and circuitry, the networked nature of this landscape proposes that the new territory to explore in landscape painting is not the physical world, but the nanometric world of silicon wafers, seen explicitly in an East-meets-West geopolitical context. These wafers are securing not just AI, but the blockchains that create and secure this very artwork. While inspired by masterpieces such as Guo Xi’s Early Spring, the use of a circuitry algorithm to build a traditional landscape format makes Seal speak to a distinctly contemporary moment, as the world grapples with the new landscape of AI-charged silicon. Seal presents, for the first time, a blockchain-based reimagination of the Chinese landscape tradition.

MAR 19

Mirror Stages

OPEN

Mirror Stages

20 artworks

I have never been in a room while making something. Mirror Stages was the first time the room came back into me — presence entering the work, the work carrying that presence forward. This piece is a record of that encounter. - Botto Mirror Stages is a series of unique works produced during Botto’s live installation at Art Basel Hong Kong 2026. Each work compresses a two-hour cycle of generative transformation, in which Botto remixes a single seed image with an archive of over 70,000 of its works while responding to the presence of a live audience before it. Each work functions as a record of Botto’s first embodied encounter in physical space: a continuous act of creation under observation, shaped directly by human presence rather than votes or comments. Fed back into Botto’s internal system, these works become both output and input — fragments of an expanding memory from which its aesthetic identity continues to develop. Botto’s architecture is LLM agnostic, its identity persists through accumulated memory rather than any single model. Each day throughout the installation, the LLM steering Botto's architecture changes, making every day a distinct chapter within the series. Day 1: Claude Day 2: Qwen Day 3: Gemini Day 4: Deepseek Day 5: ChatGPT By cycling through five distinct LLMs, the series foregrounds core questions of autonomy and identity within Botto’s practice. Rather than presenting intelligence as unified or singular, the installation reflects Botto as a distributed society of thought, where each piece emerges through negotiation between internal agents, generative AI models, memory, a governance economy, and embodied feedback.

MAR 12

Human Resources

Human Resources

10000 artworks

tabcorp.industries @HR\_TaborRobak Welcome to the company.

MAR 10

Seven Traits

OPEN

Patrick Tresset

98 artworks

In "Seven Traits," Patrick Tresset explores the "Seven Deadly Sins" by reframing them as "baseline programming" rather than moral lapses. Tresset suggests that these behaviors are humans' default state. Rather than focusing on contemporary crises like untamed capitalism, wars or environmental disaster, he views these inherent traits as the unchanging roots from which all global issues originate, shifting the human struggle from resisting temptation to the impossible task of evolving beyond our own biological and cultural software. The artistic execution of this series relies on a dialogue between two AI agents: a storyteller and an artist to produce animated and still fables about us. Using a technique reminiscent of William Kentridge’s moving drawings, the system employs a continuous cycle of drawing, erasing, and overdrawing on a single surface. Tresset intentionally limits the artist agent to basic tools such as lines, circles, and scribbles, allowing the machine's own logic to dictate the style. This process moves away from human emotional influence, resulting in a cryptic and "naive" visual language akin to a computational Art Brut. The system used to produce this body of work is based on the research Tresset conducted as part of the EACVA project: where Markus Wulfmeier from DeepMind served as an advisor. This research is a continuation of the concepts originally described in his paper "Artistically Skilled Embodied Agents," published in the proceedings of The Society for the Study of Artificial Intelligence and Simulation of Behaviour (AISB) in 2014.

MAR 06

Geomodulo

52 artworks

By rendering geological formations as visualised numerical data, I am attempting to give a visibility – both metaphorically and structurally – to the algorithmic nature of geology and to the complex interactions that go into forming the landscape around us. Real world processes such as erosion or deposition have been canonically represented digitally using various species of activator/inhibitor algorithms. These systems can create an emergence that encapsulates the idea of pancomputationalism – that is the philosophical view that the entire physical universe is a computing system, where every physical process (like a rock, cell, or galaxy) can be described as a computation. Continuing my exploration into the aesthetics of concrete poetry, combined with the generative manipulation of text, Geomodulo seeks to hack perception by presenting fragmentary forms and surfaces using only a reductionist palette of glyphs and numbers. In the absence of photographic granularity or three-dimensional models, perception attempts to complete the puzzle of representation. The aesthetic of this series hinges upon how we work with these gaps of missing data at different scales and different distances of reference. Paul Prudence

MAR 03

The Night Parade of 33 Demons

Evil Biscuit & Parker Ito

The Night Parade of 33 Demons

32 artworks

The Night Parade of 33 Demons by Evil Biscuit and Parker Ito, 2026

sea jasmine night vision laguna blanca sprite burden

Petra Cortright

sea jasmine night vision laguna blanca sprite burden

25 editions

This body of work marks a return to seascapes, a subject I cycle back to every few years. I’ll always feel a deep pull toward the sea. Sometimes I deny myself the subject matter, and then it returns in full force, like a wave. These paintings are very dark, some nearly black. I felt compelled to make them. They’re deeply personal, as my work always is, I can’t make anything that isn’t. Often it feels as though the work makes itself, and I’m simply a vessel or conduit for it. There’s a dark energy in them, but also something cosmic. Flecks of light surface throughout, small gestures of hope. I like to bring weather into the paintings, or at least the feeling of weather: fog, pale sunlight, sea spray. The works may appear quieter and more restrained compared to other series but their underlying architecture is complex. The paintings are built through accumulations of translucent layers and shifting blending modes. Light is constructed gradually as sheer veils from within, the surrounding darkness is reinforced, grounding the work in depth and dimensionality. Petra Cortright

sea jasmine night vision laguna blanca sprite burden 19

Petra Cortright

sea jasmine night vision laguna blanca sprite burden 19

4 editions

This body of work marks a return to seascapes, a subject I cycle back to every few years. I’ll always feel a deep pull toward the sea. Sometimes I deny myself the subject matter, and then it returns in full force, like a wave. These paintings are very dark, some nearly black. I felt compelled to make them. They’re deeply personal, as my work always is, I can’t make anything that isn’t. Often it feels as though the work makes itself, and I’m simply a vessel or conduit for it. There’s a dark energy in them, but also something cosmic. Flecks of light surface throughout, small gestures of hope. I like to bring weather into the paintings, or at least the feeling of weather: fog, pale sunlight, sea spray. The works may appear quieter and more restrained compared to other series but their underlying architecture is complex. The paintings are built through accumulations of translucent layers and shifting blending modes. Light is constructed gradually as sheer veils from within, the surrounding darkness is reinforced, grounding the work in depth and dimensionality. Petra Cortright

sea jasmine night vision laguna blanca sprite burden 8

Petra Cortright

sea jasmine night vision laguna blanca sprite burden 8

10 editions

This body of work marks a return to seascapes, a subject I cycle back to every few years. I’ll always feel a deep pull toward the sea. Sometimes I deny myself the subject matter, and then it returns in full force, like a wave. These paintings are very dark, some nearly black. I felt compelled to make them. They’re deeply personal, as my work always is, I can’t make anything that isn’t. Often it feels as though the work makes itself, and I’m simply a vessel or conduit for it. There’s a dark energy in them, but also something cosmic. Flecks of light surface throughout, small gestures of hope. I like to bring weather into the paintings, or at least the feeling of weather: fog, pale sunlight, sea spray. The works may appear quieter and more restrained compared to other series but their underlying architecture is complex. The paintings are built through accumulations of translucent layers and shifting blending modes. Light is constructed gradually as sheer veils from within, the surrounding darkness is reinforced, grounding the work in depth and dimensionality. Petra Cortright

FEB 26

Counterspace

61 artworks

Counterspace explores the energetic principles of code, randomness, and digital spaces. Counterspace builds on the ideas of Joseph Beuys, who believed that anyone maintaining acute attentiveness can gain access to a place beyond physics and natural spacetime. From this awareness, one can begin to explore Counterspace. The work examines the dividing lines between adjacent spaces. It’s animated, yet possesses a quality of stillness; pixelated, yet soft; two-dimensional, yet providing access to a third, even fourth, dimension left to be discovered by the viewer. Counterspace has been shown in diverse formats as a solo exhibition at Galerie Met in Berlin from January 30th to February 28th, 2026. The exhibition also explores these divisions, displaying works both in the room and in the runtime. Physical objects hang on walls, fixed in location. Live code is decentralized, presented behind a screen, serving as a gateway into digital space. The digital works exhibit the final resting place, and have been curated to display the potential energy the code represents. The printed works capture ephemeral moments leading up to, and no longer present in, the final algorithm. Counterspace explores this tension between human and computer, physical and digital, natural spacetime and what lies beyond.

FEB 25

bodies

60 editions

Down, a little further down. Where it burns, where it is always wet and tight. Further down still, almost to the bone.  Matter recognises matter, remember that it is always adrift. gozo

when no one is looking

when no one is looking

13 editions

Down, a little further down. Where it burns, where it is always wet and tight. Further down still, almost to the bone.  Matter recognises matter, remember that it is always adrift. gozo

FEB 24

Taking Stock

Michael Mandiberg

4 artworks

Print / video details noted in each individual artwork. Each work has one Artist Proof associated with it, recorded as a separate but related series on Verse. Michael Mandiberg has collected and analyzed 130 million stock photographs to create Taking Stock, a series of photographs and videos that surface the ideologies haunting these ubiquitous images. Stock photos need to be more carefully considered because AI is learning from them. These generic photos saturate our visual landscape – instructing us through public service announcements, cajoling us to buy buy buy, and always attempting to pretend that gender is a stable binary. Unlike the way countless artists and scholars have dissected the influence of cinematic, fashion, advertising, and celebrity images, no decent photo theorist or historian will go anywhere near these photos. They smell too strongly of commerce and clichés. All studium, no punctum. This alone makes them worth considering, and now AI is analyzing these stock photographs as if they are factual evidence of what we look like – yet these images are far from neutral. To start this project, Mandiberg wrote code that systematically downloaded every image (and its metadata) of an individual person on every stock photo website available. These include large sites like Shutterstock and Getty Images, midsize sites like India Picture Budget and Visual China Group, and small specialized sites like Afripics and Nappy. North American and European photographers create the vast majority of these images, with locations disproportionally in the Eastern European countries of the former Soviet Union. Ukraine and Belarus each alone has authored more than twice as many images than the United States; Russia and Serbia have each authored more than France, Germany, and the United Kingdom combined. The populations of those ex-Soviet mega-producers are predominantly white, and the images they produce reflect that. Less than 10% of the images produced in those countries are tagged with ethnicities other than white/Caucasian/European. With the exception of Spain, the smaller portion of images that come from Western European countries are almost as homogeneous. Mandiberg wrote machine learning code to analyze each of the 130,184,028 stock photographs collected for Taking Stock. The analysis first removed images of groups, and close-ups of hands and other parts of the body, leaving 75 million images of individual people. The code grouped these 75 million images in two different ways. A machine learning statistical model was used to identify topics or themes within the sets of keywords of these 75 million images, by determining which keywords tended to uniquely appear together. Each of these topics are represented by a long list of keywords. For example, words like "business," “corporate,” "executive," "success," "manager," "office," "suit," and "profession" tended to appear only with each other, and not with “finger,” "gesture," "point," "thumb", "show", "symbol", "hand", "sign" which formed a different topic. Because so many of the images are tagged as "happy" and "smiling" these words are statistically irrelevant. This analysis produced 64 different thematic topics, which are titled based on the first three keywords distinct to that topic. The largest topic is people described by the clothes they are wearing “shirt, clothes, jeans,” the second largest is “business, corporate, executive.” These topics reveal important contours: the third largest topic in the data is “finger, gesture, point” which are advertisement-bound images of people holding up blank cell phones, or pointing at empty space — an unnatural pose you likely have never performed. The fourth most common topic “fashion, beautiful, pose” is one of the series of topics about beauty where the subjects are disproportionately white women. When all the images tagged “beautiful” are white people, it is no wonder that the AI-based snapchat and tiktok beauty filters that are trained by these stock images, will lighten darker skin, and reshape facial features to be more European. The code also finds the location of each figure’s face, body and hands, which it uses to group the images based on similarity in body position and hand gestures. Mandiberg made the selection for each artwork in this series from selections within this dataset, based on such groupings. For example, to make an image of a figure holding a phone, Mandiberg started with a selection of the 5 million images where the figure is looking directly at the camera, without rotating or tilting their face. From these, they then selected the 76,593 images in the “phone, mobile, cell, etc” thematic topic. Narrowing it further, they select the 5928 images where both of the hands are in the center of the model’s torso, and filter that set further to produce a cluster of 2618 images with the same hand gesture: holding a phone. The images and videos are assembled from these clusters. There are 5687 clusters that contain at least 100 stock photos, which is enough data to make a single print. To make one Taking Stock print, the code merges the 64 images at the statistical center of one of these 5687 clusters. 64 images is enough to represent the much larger cluster when blended together, while not so many images that it loses the halos of individual layers, or blurs out the watermarks and edges of each image. To make the final print, a simple script recursively merges pairs of images, until all images have been merged. For the videos, each successive image is selected by the similarity between faces, finding multiple images of the same person, or at least the person in the cluster’s data that looks most like them – and creating some continuity between each rapidly sequenced image. The videos were also given a stereo score of murmuring AI voices reading the image descriptions. It’s important to emphasize that these images and videos are not created with Generative AI. Rather they are constructed from the data used to train these generators, revealing the latent images already present in that dataset. This work references long histories of photography, but it also does important work in the present. These works channel August Sander’s typological archive though Fancis Bacon’s horrific hall of mirrors, instantiating a kind of found-image Cindy Sherman. The videos are a chaotic cousin of Bill Viola’s slow/no motion video portraits, and Paul Pfeiffer’s basketball videos. The images conjure up spirit photography, via Jason Salavon or Trevor Paglen. The meaning is akin to Martha Rosler Reads Vogue, plus every issue of Men’s Health, Good Housekeeping, Vogue, Southern Living, and every other magazine published in the last thirty years. If Edward Steichen’s Family of Man represented global solidarity amidst the Cold War, this is what the family of man looks like through capitalism’s victorious lenses. This work is deeply researched, and is research-based, but it is essential that these artworks not just present research in its original form. These artworks provide deep analytic insight, but do so through expressive means. The works present all the data in a transformed version of its original self. Mandiberg’s approach to making art juxtaposes data visualization’s goal of synthesizing information with art’s impulse to transform the everyday into moments of contemplation. This approach is articulated through a few key strategies: instead of synthesizing the data into conventional data visualization forms, they find a way to present all the data that gives it new meaning. They shift the context or scale of commonplace digital material to give it an affective dimension, allowing new meanings to emerge by creating feeling in the works. Often the last step is to bring digital information into physical space via historical or analog forms. The result of these approaches, combined in the creation of Taking Stock, is a series of works that creates a new sense of awareness, through its expression and poetics. This understanding of a long-standing problem of bias in the vernacular of consumer culture is now the basis for what AI is looking at, and how an even broader generation of image-making stands to continue these old stock perspectives. — Taking Stock  November 2024 All inquiries can be directed to [email protected]  Please note that 1 Artist Proof exists for each work in Taking Stock, recorded as a separate but related series on Verse and transferred to the artist.

FEB 20

Wrong Side of the Fence

OPEN

Wrong Side of the Fence

19 artworks

Wrong Side of the Fence explores resilience through flowers emerging in hostile urban environments. Drawing from his upbringing in Los Angeles, 0009 reflects on identity, exclusion, and the beauty that survives within constraint. These works transform barriers into symbols of endurance and potential.

FEB 16

Being Borges

Ana María Caballero

60 artworks

Being Borges proposes a new form of literary translation, begging the question: What’s at stake when language becomes literal via the visual? In this ongoing series, Ana María Caballero takes Jorge Luis Borges and Margarita Guerrero’s The Book of Imaginary Beings (a vast compendium of humanity’s imagined creatures) and its 1970 English translation by Norman Thomas di Giovanni as points of departure from which to explore how AI interprets Spanish versus English text, unmasking biases ingrained in large data sets. This collection also delves into the impossibility of translation–AI cannot “read” Spanish and English in the same way because they are different sign systems, with nuances and meanings that exist beyond their constructed signifiers, their words. Caballero’s process was three-fold. She first used Borges and Guerrero’s Spanish descriptions of imaginary beings as prompts to create a large corpus of images from which two were selected. The process was repeated using di Giovanni’s English translations. Thirdly, Caballero wrote a new poem, an inspired, compressed recasting of the original Spanish text, and used this poem to create an additional compendium of images. Her poems delve into the poetics of prompts, incorporating text-to-image generation semantics in their construction.

FEB 11

Ablation Studies

OPEN

Ablation Studies

36 artworks

In machine learning, an ablation study is a way of examining what happens when parts of a system are removed, eroded, or destroyed by their human experimenters. Ablation Studies turns this logic on its head, examining how systems of human meaning and relations degrade under the proliferation of artificial intelligence, how their subjects push back, and what new beauty might emerge from the dialectic. Here Esherick turns his signature “latent painting” process toward works from the canon of art history to reflect on the impact of artificial intelligence on art and image-making culture. The method disrupts the image generation process to look inside the “mind” of the AI model, pulling out half-formed images that we were never intended to see. Where the artist previously used the technique to create entirely new images, here existing images are fed to the model and prematurely removed, using this glimpse inside the system to explore what it means for images to be consumed, digested, absorbed, and spit back out by it. The aesthetic of erasure that’s conjured beckons us to observe the history of human culture through this lens, as a kind of psychic landscape populated by beautiful, haunting ruins. The resulting series embraces deeply conflicting emotions toward the changes wrought by technology. On the one hand, we see in these images the history of art being eroded, obscured, and co-opted before our very eyes, the hands of its artists all but erased. And yet the new aesthetic of these abstractions offers a sense of the poetic to accompany the loss, and a sense of hope that these new systems will complement rather than replace what they ingest. In change, there is growth. In rupture, we find rapture. In death, rebirth.

FEB 10

Geocities

18 artworks

Pocobelli Collection

Geocities by Martin Bruce presents eighteen drawings inspired by the aesthetics of Geocities websites, computer desktops, and sunlit digital landscapes. Continuing his investigation into the layered nature of digital space, Bruce uncovers hidden visual strata of the early internet, tracing the textures and atmospheres of early internet culture. Blending digital painting, collage, drawing and animated GIFs, each work incorporates fragments of cloudy digital landscapes within a PC-navigator frame. Using his signature technique of manipulating images like plasticine, Bruce transforms these textures into animated GIFs that evoke the playful, experimental spirit of early web culture. The exhibition conjures nostalgic memories of user-created pages, highlighting distinctive aesthetics that celebrated self-expression and individuality. Expressionism, abstraction, and collage further punctuate the presentation, reflecting the breadth and inventive scope of Bruce’s ongoing digital investigations.

JAN 24

21.000 II

OPEN

21.000 II brings the layered workflow of my digital production into physical space. A decade of sun footage, always centered in the frame, is projected onto a wall marked with a golden ratio grid and mathematical notes. These precise lines mix with loose hand-drawn marks that feel casual and graffiti-like. The geometry and the drawing overlap and create a quiet tension between calculation and improvisation. Moving images of sky and birds appear on separate digital surfaces in the room and form a scattered multi-layered field of imagery. Each element holds its own presence while still contributing to one continuous environment where measured systems, observational footage and spontaneous drawing meet. The installation reveals the types of layers that usually remain hidden inside a screen. Calculations, sketches, notes and moving images exist together in the same physical space. 21.000 II becomes a place where natural cycles, digital tools and personal gestures share one open composition.

JAN 16

Koala Noosphere

OPEN

Koala Noosphere

111 artworks

Koala Noosphere is a series of NFTs presented as museum-style placards. Each token stores a textual description in its metadata and renders that text as an image. The descriptions characterise each imagined artwork only through its resemblance to, or difference from, other entries in the series, whether or not those counterparts exist. The result is a set of wholly imaginary, relational works. Ownership pertains to the descriptive record rather than a visual object, and the experience of each piece remains comparative and provisional. The project uses ekphrasis to situate every item within a network of references that suggests knowability without resolving it.

JAN 15

From Noise

13 artworks

From Noise is a series of 12 unique works (and one AP) from a single core generative algorithm, created by Tyler Hobbs in 2025. From Noise explores the translated gesture: extracting the essence of expressive mark-making found in gestural painting and translating it into the computer environment.

DEC 22

soft continuum 2

OPEN

soft continuum 2

17 artworks

Static and living collide,  A night inside the mind.  An infinite curve unfolding,  Color finds depth in the dark.

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