In Wall St. Glory, Harman delivers a searing visual indictment of late-stage capitalism through a series of postpaintings that collide abstraction with archival distortion. Executed in a hybrid process of digital degradation and painterly intervention, these works reimagine the trading floor as a site of ritualistic absurdity—where excess, ambition, and entropy coalesce.
Figures of venture capitalists and brokers are rendered as spectral archetypes, suspended in glitch and oil, their gestures echoing both celebration and collapse. The paintings are not just representations of greed—they are elegies for a system collapsing under its own mythology.
Tokenised on the very day of a major market crash, the timing is no accident. These works are minted in synchronicity with financial disintegration, embodying the volatility they critique. In this way, Wall St. Glory becomes both artifact and event—an aesthetic and economic act of counter-speculation.
The result is a collection that does not moralize, but mirrors—reflecting the beauty, horror, and inevitability of a world where value is as ephemeral as the pixels that now attempt to contain it.
