Auriea Harvey

Auriea Harvey’s practice exists in and between the real and virtual and *The Unanswered Question* situates both realms of existence on the same plane not as simulacrum, but as a suspension of disbelief. Scale plays an important role within the collapse of real and virtual as the artist manifests her digital compositions as an expansive scrollable landscape. Each work is a collage of polygonal models, derived from 3D scans and arranged into scenes using “kitbashing”, a technique from the practice of model-making that forms all parts into a whole and celebrates the simple lighting and highlights of each figure’s digital nature. This process offers the artist the opportunity to interject her personal sculptures into classical narratives. All murals are sold as a digital image where the viewer can scroll, zoom, and uncover the theatrical compositions in detail. Collected works can be viewed online as a Gigapixel zoomable image as well as printed at resolutions up to 12ft/3.6m in height.

The Unanswered Question

bitforms

Tabor Robak

In *Broken Printer*, Robak artfully blends the nuances of traditional printing with the boundless scope of generative art, inspired by the evolution of printing technology. This series pays homage to graphic design and desktop publishing, focusing on the unique aesthetics of faulty prints juxtaposed against the perfection promised by advertising. 

Beginning as a project to generate printer calibration pages, it evolved into a comprehensive emulation of Photoshop's early functionalities in code—layer styles, masking, filters, and more – with the unlocked infinite possibilities of procedural generation. Through this exploration, Robak challenges viewers to find beauty in technological imperfections, urging a reevaluation of the quest for perfection.

Broken Printer

Verse Solos

Erik Swahn

**April 18th - 19th**\
Presale of up to 60 mint passes to existing collectors of Erik Swahn’s work.

**April 19th - 26th**\
Public sale of remaining mint passes.

**How it works**\
You must own a mint pass to mint an [*Autoscope*](https://verse.works/series/autoscope-by-erik-swahn) work. There will be a maximum of 360 works in the series.\

Autoscope (mint pass)

 Ivan Zhyzhkevych

Entangled Others

*This series exists as part of an ongoing study concerning questions of entanglement, and how all that surrounds us interacts ceaselessly in one form or another. The initial culmination of these experiments involved multiple years of exploration and multi-disciplinary collaboration which took the form of the work* decohering delineation *(2022-2023), a tentative attempt at making tangible the innate interconnection of all that we tend to assume as distinct, clearly delimited forms of life, ecosystems, etc.*
 
*Normally, image-making in the context of digital, generative systems arguably defaults to the role of the subject as an initial input such as data, or observationally determined rulesets which are typical examples of this. Whilst the results are naturally striking, the role of subject risks passivity, or a degradation from existing as an equal presence when included primarily as an aesthetic raw material. Addressing this particular framing is a non-trivial endeavour, however, we wanted to explore how we might consider certain technologies as conceptually useful means to sketch out stepping stones to alternative approaches to shared image-making as artists.*
 
*To this end we desired to inject the now mundane approach of dataset → model → output wherein dataset was the total of influence from the subject in question, with an iterative interaction where the subject intervenes in the decision-making process of generation, one that would leave its decisive traces upon the final work itself. In this case, the subject of this branch of tireless aquatic fascination, namely the phenomena of oceanic upwellings.*
 
*An upwelling is a surge of cold, nutrient rich water, from the depths of the ocean. This water is crucial to nurturing a dizzying variety of oceanic biodiversity and many terrestrial denizens that depend on it for sustenance. Yet its cyclical motions are at a scale too vast and gradual for us to perceive directly. Instead we must contend with allowing the knowledge of such phenomena to enrich our only interface to it: the life we encounter in underwater excursions, imagery of which inspired and shaped the works in this series.*
 
*We decided to have each individual work be a diptych consisting of a monochrome-colour pair. While depicting the same result, they offer two very different readings of the same image.  This is our attempt at trying to convey the tension we encountered in depicting something that exists at a scale far too vast for the body to experience directly in any meaningful manner.*


Entangled Others


specious upwellings

ARTXCODE

Michael Neff

Michael Neff's *Rules of the Game* explores familiarity turned askew. The series delves into the typology of fields, courts, and tracks, capturing them from an overhead perspective reminiscent of satellite imagery or drone photography. What initially passes as documentary photography, unravels into an uncanny realm, where the seemingly mundane transforms into the surreal. Lines on familiar fields become too abundant, key equipment is misplaced, roads lead to nowhere, shadows that appear natural lack any tangible source, and perspectives skew like reflections in a warped mirror.


The result provokes questioning the familiar—what are these altered sports called, and by what rules are they governed? Is a racetrack a racetrack if you can’t drive a car around it? Are these mere imitations, akin to Canal Street knock-offs, or perhaps the misinterpretations of a game of telephone, reminiscent of Dürer's rhinoceros? Beneath the surface, it becomes evident that these anomalies are not products of camera tricks, but the outcomes of AI image generation, governed by blackbox rulesets that use observations of relationships to mimic reality, but ultimately fail under human scrutiny.


Much of recent AI-generated imagery strives for (and often achieves) verisimilitude with documentary photography, or indulges in hyperrealism. Neff's approach diverges. Rather than striving for accuracy, his work hones in on the threshold just before these models achieve photorealism. In doing so, Neff offers an underlying commentary on the impending era of ubiquitous deep fakes, inviting viewers to contemplate the fragility of perception in an age of digital manipulation.


Neff's commitment to a singular, overhead perspective invites deeper exploration into the critical nuances that shape sport gameplay, and comparative analysis amongst the ways that generative Al systems get them wrong, despite their convincing attempts at accuracy. While subtle, the made-up rules of these near-real games unveil small joys for those that play, and small victories for those who think the games are already silly.


Prints: Collectors can purchase a C-print of the pieces they own at 12 x 12 in. or 20 x 20 in by [contacting the artist on X](https://twitter.com/heyneff). The prints are available unsigned, and with a certificate of authenticity issued by the artist. 

Rules of the Game

TENDER

Petra Cortright

Influenced by her passion for plants and gardens, Cortright's work captures the essence of solitary flora with custom digital brushes, reminiscent of botanical drawings. Her compositions, set against hazy gradients, prompt contemplation on the significance of plants in human narratives and the overlooked dynamism of the vegetal realm. By merging the speed of the digital with the temporal slowness of plants, Cortright's art invites viewers to reconsider their cognitive rhythms and connections to biological systems, offering a unique perspective on the relationship between technology, nature, and human perception.

Botanical Study #1

Société

Margaret Murphy

Margaret Murphy’s series *Los Angelizing* delves into the exaggerated cultural perceptions of Los Angeles, shedding light on the city's hidden complexities. Through the use of AI, Murphy amplifies depictions of the subtle extremes of the city’s iconic imagery, challenging viewers to reconsider their preconceptions of the city’s identity and its inhabitants.

*Los Angelizing* is an homage to Murphy’s passion for both the city of Los Angeles, where she has lived since 2016, and the medium of artificial intelligence that Murphy has been incorporating into her artistic practice for the last two years. Influenced by artists such as filmmaker David Lynch and photographer Martin Parr, known for their surreal and absurdist depictions of humanity, Murphy interprets her own portrayal of AI while leaning in to the tool’s exaggerated quirks. Murphy takes these entrenched stereotypes to a visual extreme that is equivalent to how they are often spoken about or understood outside of LA.

Los Angeles is a city defined by its stereotypes that are exaggerated by popular culture and media. People who live in LA are often met with questions that feel frivolous and uninformed like “How do you deal with the traffic?” “Aren’t you scared of the Earthquakes?” “Don’t you miss having seasons? “Do you go to the beach every day?” “Do you drink the expensive smoothies from Erewhon?” It’s hard to convince a critic, but there really is no point in trying. LA is a city that reveals itself only to those who make the effort to see and love it for all of its caricatures – real and exaggerated.

AI is similarly misunderstood and sensationalized. People are concerned about their art being used without their consent to train models, the environmental impact of AI, deep fakes, loss of jobs, and the elimination of the human hand in visual media. Yet it is hypnotizing to be able to illustrate such playful chaos so easily. 

This same kind of absurd surreality permeates every minute of living in LA – both good and bad: the wildflower super blooms after rainy winter floods, unhoused communities mere blocks away from gaudy displays of wealth, cotton-candy pink sunsets made possible thanks to the smoggy air, low-grade earthquakes that may give you an adrenaline rush but inspire thoughts about when the next “Big One” will hit, the dated architecture reminiscent of a forgotten movie set. It is difficult to fully understand and appreciate the contradictions of Los Angeles until you live here. 

Perhaps it is this penchant for the absurd that makes it easy to marry Los Angeles and AI. The criticism both face often feel unwarranted or misplaced to anyone who is comfortable with the two. They can be seen as intimidating and dangerous, indulgent and lazy, surface level and vapid – despite exemplary representations and rich histories to suggest the contrary. Each has a diverse and vibrant culture, often overlooked yet inevitably playing a massive role in shaping the global vernacular. Of course they both have their darker sides, valid of criticism – it’s part of their balance of strengths and flaws, like humanity itself.

Prints: \
Collectors can purchase a 16 x 24in. archival pigment print of their pieces, printed on 325 gsm Hahnemühle FineArt Baryta paper, at cost plus shipping. The prints are available unsigned by connecting your art-holding wallet after the mint to [wovn.xyz](https://www.wovn.xyz/) to order a print.


Los Angelizing

Prepare a rectangular or square canvas. Pick one or two sets of pigments. Plot one or two fields of slightly irregular dots, with one layer for each pigment. Offset each layer slightly, horizontally or vertically. Apply a level of randomness to the placement of each dot so that pigments in lower layers can obscure pigments in higher layers. Optionally, divide and displace the randomness in rectangular patches.

Click on press the image and press 1-5 to export the image in increasing resolution. Note that browsers have different upper limits for canvas size. There are five different aspect ratios: 1:1, 5:8, 8:5, 1:2, and 2:1.

*Fields* is part of the group exhibition *Imperfections*. 


Fields

Frank Manzano 

Inspired by his native West Chicago, Manzano’s work delves into the deep underbelly of Americana, exploring the role of media and violence in American entertainment and culture.  With artificial intelligence as Manzano’s collaborator, he probes past the proverbial event horizon, visually investigating the black hole of excess at the center of the modern world.

Manzano’s work is compelling, yet unsettling, and instantly recognizable.  Strangely exhilarating, the viewer feels as if in a place one should not be … but can’t resist, nonetheless.

There is an almost nostalgic anxiety in his art, a sort of “funhouse mirror” merger of the viewer’s own memories and the unfamiliar.  A feeling of nagging discomfort exists, yes, but also glimpses of strange optimism and hope.  That perhaps the hard part is looking down the barrel of the gun pointed at us all.

Formally trained in film and photography at Columbia College, Manzano takes the next step technically in *ScheduledProgramming*, delivering high-definition cinematic intent in every single frame. While slightly less visually frenetic than past efforts, each piece nonetheless quickens the pace of the viewer’s heartbeat and leaves them unable to break away until their dream (or nightmare) ends.

The collection as a whole offers a multifaceted exploration into human identity and the manipulation of perception and consciousness through media and technology such as AI itself. In this increasingly digital and chaotic world, Manzano questions the very future of humanity and does not mince his words.

ScheduledProgramming

Artie Galerie

Pierre Casadebaig

*Ridge Regression* is a tour of imagined landscapes rooted in data visualization, drawing from real elevation logs that reveal the landscape topography of France's diverse mountain ranges. The project’s algorithm involves an evolutionary process applied to geology, where new plausible landscapes are built by recombining a set of randomly sampled real location(s).

Because the data does not convey human influences on the land, the resulting landscapes are stripped to their basic, raw forms. By observing the differences between real locations and these fragments of computational geological forms, the artworks highlight the impacts we have on our world – from inspiring transformations to consequential damages.

While some outputs contained unremarkable elements, their potential as components for broader compositions was harnessed by assembling them with stronger outputs, leading to the creation of those synthetic yet realistic landscapes. The project goes on to harmonize additional algorithmic systems for additional ridges, writings, and clouds – using a responsive grid layout that adapts to the shape of generated components.

Lastly, to give these bare forms and natural expressions further life, the algorithmic drawings were output in pen-plotter renderings that embrace an organic feel through coding techniques like line overlays and noise, and also by using physical brushes, calligraphic pens, and technical pens. Through these processes, the works are open to serving as intimate, elevated celebrations of imagined natural forms, or as exploratory gestures to be traded and sent as mementos of peaks not yet climbed.


﻿Various technical and calligraphic ink pens plotted on 200 gsm Canson paper, signed \
148 x 210 mm / 19.7 x 26.7in
﻿

The digital art shows the unique original plot, and is connected to an NFT on the ethereum blockchain. The original purchaser of this artwork will receive the A5 plot directly from the artist, and shipping costs are included in the winning bids. Upon resale, the accompanying physical work shall be shipped to the new owner at their cost.

Ridge Regression

Kjetil Golid

Every collector is eligible to claim a **signed print** and/or **3D printed sculpture** of their output before March 22nd at 6pm GMT. 

Prints will be 140 x 118 cm on Hahnemuehle Photo Rag 305gsm, costing $950 inclusive of shipping.

You can claim your print [here](https://views.typeform.com/to/fK6QRosQ)

Each edition can only be printed once.

For the live updated status of claimed and therefore *unavailable* prints please check [here](https://docs.google.com/spreadsheets/d/1QgbNl375UnoknQgV2dI97av-fL9GAspcOX1LGbzH3O0/edit#gid=0)

Sculptures will be 30cm tall 3D printed grey nylon, costing $1500 inclusive of shipping.

Prior to purchasing a sculpture, collectors must enquire with Kjetil [here](mailto:kjetil.golid@gmail.com/?cc=anna@verse.works&cc=holly@verse.works&subject=Monument%20Sculpture) as each sculpture will be bespoke. 

**Please note**: The background of the printed outputs will be desaturated by 60% as was the case in our exhibition of *Monument*.

In *Monument*, Golid’s signature grammar of cubic shapes, black lines and luminous colour is instantly recognisable. In this series, geometric forms take on a new verticality. Inspired by the aesthetic of Brutalism, shapes ascend like totems of concrete architecture. “Flawed, repetitive patterns have always been an interesting aesthetic to me, and where else does one find it more prominently than along the vertical facades of high-rise buildings?” asks Golid. The artist is interested in the pattern and structure of these buildings and the way in which these patterns are disrupted by the presence of people. For example, the way in which an open window or a closed curtain interrupts the architectural uniformity of a modernist high-rise building.


Monument

Matt Perkins

You are on the shore of a lake, waiting for the festival to begin. A soft wind blows, and the remains of a storm are passing away.

In art school, I discovered and fell in love with impressionist art. The style of capturing the essence of a scene with bold marks and colors captured my creative curiosity. Throughout my life, I've had a spot in my heart for this movement.

As I began my generative art journey, I looked back at these artists, wondering if I could capture the feeling of an impressionist masterpiece with code. Over time and with experimentation, I've developed and honed my algorithms to closely mimic true brush strokes and applied color mixing techniques to realistically mimic paint mixing.

Lake Festival is the culmination of my work over the past year to capture impressionism on a 2D JavaScript canvas. Through randomness, this piece can explore the styles and moods of several impressionist masters with different paint mixes, brush strokes, and atmospheric conditions. Iterations range the gamut from hope and joy to melancholy and ominous.

This work is best viewed on a desktop or laptop in a Chromium browser. Due to differences in browser rendering, the same work may have slight differences in the rendering of some brush strokes.

Copyright (©) 2023 Matt Perkins / Nudoru

Lake Festival 

Cory Haber

What are the things that surround us, but mementos of life? Materials to sustain our lives, reminders of what we want or have had, and even life itself. The types of life we observe changes our perspective – for instance, looking upon each other draws comparison and instigates narrative. When we take in nature, everything is alive and as it should be: the slow growing rocks, quietly drifting clouds, the fauna and the flora. From these observations, we get an intuitive sense that each tree, plant, and flower is a peaceful analog to our own spirit. 


Each flower reminds us of the infinite beauty of our existence – its simultaneous perfection and imperfection, and the teaching that those two attributes are the same. The opening of a flower is an uplifting process that prepares for its long moment in the sun and whatever may come. Each drifting wind shows off the dimension of a blossom, each ray of light and drop of water bends its petals to receive sustenance. Through flowers, we see the cycles of life: a peek expression of the plant's potential in its bloom, simultaneously aware that it was recently but a seed, and will soon now be dead.


The flower is a prompt to stop and enjoy the vibrancy of life – it shouts at us with color and stretches out its sumptuous cup in which to hold our attention. This awareness we place upon the flower reveals the shared energy of our lives, all lives, and charges our connection to it. The lasting power in both their physical appreciation and artistic representation is no coincidence or trite superficiality: it's born from our deepest intuitions.


*Blooms* continues Haber's pursuit of expressing the essence of life and energy using flowers as subjects. Through unexpected colors and combinations, an abstracted feel of paint-brushed flora, and a myriad of wild floral arrangements, the generative processes of this series create a new, widely varied visual language that represents the beautiful, organic diversity of life.




*Without our fully realizing it, flowers would become for us an expression in form of that which is most high, most sacred, and ultimately formless within ourselves. Flowers, more fleeting, more ethereal, and more delicate than the plants out of which they emerged, would become like messengers from another realm, like a bridge between the world of physical forms and the formless.*


—Eckhart Tolle




Prints: \
Collectors can purchase a signed archival pigment print of their piece from the artist's studio by connecting your art-holding wallet after the mint to [wovn.xyz](https://www.wovn.xyz/).


Blooms

Tù.úk’z

In the labyrinthine corridors of imagination, the *Isle of Alcina* collection stands as a testament to the beguiling interplay between enchantment and peril. Each piece is a portal into the sorceress's dominion, where the verdant allure of eternal spring veils the capricious whims of its mistress. The art captures the intoxicating fusion of flora and the arcane, a paradise woven with spells that ensnare the senses and bewitch the mind. Here, in this gallery of wonders, Alcina's sorcery breathes through the canvas, her island's deceptive beauty etched into each stroke and hue—a siren's call that beckons viewers to gaze deeper, and perhaps, to linger a little too long in the embrace of her creation.

Isle of Alcina

0009

*urbn artfct* delves into the hustling heart of New York's '90s underground, offering a visual homage to the epicenter of a decade that reshaped urban culture for the entire world. This series explores the artifacts and narratives that defined street life, capturing the ceaseless motion and resilience of New York. Through contemporary reinterpretations of era-defining relics—coats worn by time, sneakers hanging from power lines, and payphones adorned with graffiti tales in graffiti—viewers are invited to immerse themselves in the street culture of the era, seeing each urban detail as a visual representation of self-expression and survival.


These symbols, once hidden markers of the city's underground pulse and territorial claims, now stand as crucial chapters in New York's evolving story, showcasing the creativity and ingenuity born from street culture's challenges. Beyond simple nostalgia, *urbn artfct* taps into the iconography of '90s street life, embodying the counterculture that challenged and transformed urban aesthetics.
Growing up on the West Coast, the artist, 0009, was captivated by New York's '90s culture, drawn to its vibrant hip-hop, expressive graffiti, and the raw hustle of street life. Influenced by the vivid imagery found in magazines and the lyrical storytelling of hip-hop, these elements are woven into the collection, presenting a nuanced reflection that places hustle and resilience at the core of '90s New York identity.


*urbn artfct* breathes new life into '90s artifacts, infusing them with contemporary relevance and complexity. This process isn't only about looking back; it's about reimagining, reinterpreting, and recontextualizing the symbols and narratives of '90s street life for a modern audience. Utilizing AI for this reinterpretation allows for the exploration of alternative perspectives and narratives within the raw energy of '90s NY street culture, creating a unique and modern style that goes beyond homage and nostalgia.

Prints: \
Collectors can purchase a signed archival pigment print of their piece from the artist by connecting your art-holding wallet after the mint to [wovn.xyz](https://www.wovn.xyz/).

urbn artfct

Maya Man

I'm Feeling Lucky

Paolo Čerić

Particle systems have always held a special place in my heart. The inherent simplicity of each particle and the complexity of what emerges is a theme I have always enjoyed exploring. \
With *Drift*, I continue this exploration and delve deeper into the intricacies of one such system, to see what emotions it can evoke. 


To export a PNG, I recommend adding a size parameter to the query string, such as &size=4000 to define the longer size, and then pressing 's' after the rendering is complete. Also, please check the console for rendering and saving information.


The piece is computationally expensive and requires an adequate GPU.

It is important to understand that due to the complexity of the simulation, the result may look different across different devices. This variation is primarily due to the different capabilities of each device's GPU. Therefore, the uniqueness of each viewing experience is not only a product of the hash but also the inherent unpredictability and variation in hardware capabilities. Please be mindful of this while enjoying *Drift*.

Drift

Anaglyphic

*Antichambre* is a narrative research developed by generative artist anaglyphic. It builds on previous works such as *Pyramid Scheme* and *Cités Nuageuses* to push forward their work on etched representations of improbable spaces.

Taken in an overly literal French sense, an antichambre is the opposite of a room. In a more reasonable one, it is as smaller room that acts as a buffer between a public space and a private one. It is the limbo in which one forgets the past to sink in the anticipation of the high-stake social interactions to come.

The topographies depicted by *Antichambre* iterations naively represent what can be at stake with these intermediary spaces. The floating moments spent in these rooms are what some of the present is made of, as the past is gone and the future is always to come. By making a slices of time a slice of space, the Antichambre algorithm provides cognitive helper to anchor a perspective on the instant.

The narrative on which the research is based on aims at making this shift easier for younger audiences. The story follows an individual identified by a serial number. Ensuing an apparent mistake, the character obtains undue responsibilities and starts to unwittingly unravel the fabric of an already precarious community. The reader comes to understand that minor glitches appearing at the edge of a structure are as many indicators of hidden core fractures.

*Antichambre* hence comes with a tentative, if naive, political message. Agents living in slices of systems can rebuild the agency necessary to heal its fractures by looking for the glitches.

&nbsp;

*Antichambre* is an algorithm written in ECMAScript. It does not rely on any premade code libraries. The file it outputs is a scalable vector document (XML-SVG). As such, it is size-less: it can be zoomed-in to any depth. It can also be pen-plotted by a machine. Open the console for export instructions.

Antichambre

Jacek Markusiewicz

The landscape is filled with massive structures that look like architectural elements, as if a series of vaults constructed from geometric figures has been carved into the ground. They span over mountains and valleys, imposing order on the natural terrain. It appears as if the weight of the land is being held up by columns and walls, shouldering its burden.

Meandering roads find their way through the terrain, between the structures, connecting scattered homes and fields of crops or vineyards. Occasionally, a larger building stands out, resembling a church or town hall.

The people living in these settlements bring to mind ancient barbarians from history books, how they overtook great civilisations and made their homes among the ruins. But it is hard to say who came first. The massive structures may have been built after the wooden settlements: an outside force colonising the land for resources, leaving behind traces of its barbaric conquest.

In both scenarios, the concept of barbarism always refers to “the other”, accentuating the dichotomy between us and them, right and wrong, form and matter, space and time, human and nature. Yet here, in this landscape of contradictions, these divisions are not so clear-cut after all.

—
*DISPLAY*

The size of the image generated by the algorithm adapts to the size of the browser’s window. Add parameters “w” (width) and “h” (height) to the end of the URL address to force a different size, e.g. “&w=1350&h=2400”. 

The project is best viewed in 4K; however, high resolutions result in longer rendering time. Please note that the algorithm will adjust the resolution to the aspect ratio of the rendered edition. 

Certain visual elements, such as the density of strokes on geometries, differ between low- and high-resolution images to ensure the best display quality.

—
*REFERENCES*

All drawing and geometric methods by Jacek Markusiewicz except the following:

For terrain generation, I adapted Hydraulic-Erosion by Sebastian Lague. (MIT License)

For pathfinding, I adapted the C# script from the article Pathfinding Algorithms in C# by Kristian Ekman (The Code Project Open License - CPOL). The code was translated to JavaScript and simplified.

I translated algorithms for ray-cylinder, ray-sphere and ray-torus intersection to javascript from articles and shaders published by Inigo Quilez (MIT License).

Many pseudorandom effects are achieved with OpenSimplex Noise by Josh Forisha (The Unlicense: CC0 1.0) and seedrandom by David Bau (MIT License).

Compiled using a boilerplate by James Merrill (MIT License). The random number generation from transaction hash uses the prng algorithm sfc32 by Chris Doty-Humphry (public domain) as described in the artblocks.io tutorial (GPLv3).


Barbarians

Zancan

By placing our trust in any of the "future techs" to solve today’s environmental problems, we run the risk of postponing the actions that mattered. Carbon capture is one of those technologies we’ve engaged in to give us an impression of action; perhaps, unconsciously, in order to cover up our anguish, our helplessness or our guilt. 

Yet we need to keep moving forward. Art has this kind of energy, charismatic and unifying. If I believe little in technology to save humanity, I keep hope in humanity, in its conscience, in the universality of its love. If only one power is given to artists, it is that of being able to touch, sometimes, the hearts of men.
 
"Landscape with Carbon Capture" is a critique of my own environmental consciousness as an artist working with technology around natural themes. Although I do not know any solution, although I am helpless just like you, I want to fight with what I’ve got. I want to acknowledge the great hypocrisy of our times. Carbon emissions are here to stay, they'll stain my canvas, no matter how green the colours on my palette.

For the final weekend, 20% of sales from this artwork will go to The Good Society, a non profit that harnesses the power of NFTs to fund global initatives working to improve the environment, human rights, and our collective health and wellbeing. Learn more [here](http://www.thegoodsociety.org/).

—

Generative Art

Made with Javascript code

Right click to save a 3240x3240 PNG file

Pass up &pixelSize=5000 in the URL for a 5000x5000 image or more. Maximum is 16384 on a powerful computer. [Video instructions](https://vimeo.com/778986612/3d5c27d254).


Landscape with Carbon Capture

Olga Fradina

The appeal of abstract art lies in the fact that, despite the intentions and emotions of the artist, each viewer is free to interpret the work in their own way, to have their personal associations and allusions.

The sleek silhouettes of buildings, the glimmer of light in windows, the facade embellished with tiles – these are the outlines of a futuristic city that grew out of the initial idea, the blueprint, and the drafts. And even earlier, from a collection of experiences and impressions that the architect had at the time of the project's conception.

In my childhood, on the way to visit relatives, my parents and I passed by a building covered in ceramic tiles. I was fascinated by the rhythm, and I loved looking at it!

Everything big is made up of smaller blocks - step by step, brick by brick. The harmonious interaction of all elements creates a harmonious structure as a whole – our relationships, our buildings, and even our lives. Even Web3 is built by people, and every action we take, every manifestation, is a building block of this unity.

The foundation of architecture is a mathematical and structural approach. This makes architecture akin to generative art and makes Gen.Art an organic tool for exploring new dimensions of harmony.

How does the program code work? By stacking up to form a new structure. Like a building that grows from blocks, with a room at its core.



TILE

KRANKARTA

A drop of rain seems fleeting and inconsequential. Yet, within each lies a microcosm.


- Press 's' to save the image.
- Default image width = 2000px and aspect ratio = 4:3.
- Modify the image width by adding “&w=[x]” to the url (e.g. &w=4000).
- High resolutions are computationally expensive and may take a while to render.


Drop

Studio Yorktown

This version of *Tekton* is a fully generative version of a previously released, non-generative capsule collection of ten pieces entitled *Tekton*.

The original intent behind the first collection was to explore the possibility of creating structures through the use of reuseable models, similar to playing with blocks of LEGO.

It also served as a feasibility test for a subsequent collection *Perpendicular Inhabitation*.

By experimenting with various massings and blocks through play with toy bricks, the process allowed the visialization of  the order in which code must be written and repeated in order to create a convincing illusion of a tower. As a result of play, a number of different rule sets and modules were created, however in the original *Tekton*, these were pre-drawn blocks that were assembled arbitrarily to form harmonious compositions.

Here, each block is given more latitude to bend its own rules allowing for the creation of structures that are entirely unpredictable.

Tekton : Optima

Harvey Rayner

Quasi Dragon Studies

In *Autoscope*, Erik Swahn returns to the theme of color as building material from previous series such as *Farbteiler* (2021), *Punktwelt* (2022) and *Funktor* (2023). His new series as a whole describes an abstract universe consisting only of color, with each piece depicting a different scene within that universe.

Whereas many of Swahn's previous series have had objects as their motifs, *Autoscope* rather portrays places in the form of configurations of simple geometries. Mountains are implied through pyramids and cones, ocean swell through sine waves, and barren forests through arrays of cylinders. Some places are inhabited by primitive geometries moving through space.

In a number of different tableaux, rendered in perspectiveless projection, the series evokes a very reduced sense of place, or perhaps recollection of place, sometimes with parts of the images blurred or distorted. In some scenes, even parts of the geometries are subject to erasure. In contrast to this barrenness, each scene is rich in saturation, movement and animated intensity, pulling the viewer into a chromatic world of its own peculiar logic.

Click or press space to pause/play. Press left or right arrow to go back or forward 10 frames. Press esc to rewind to the beginning of the 60 second loop. 

Press 's' to save a PNG image. Press 4/6/8 to force the resolution to 4000/6000/8000 pixels height (note that different browsers have different canvas size limits). Press 0/1 to reset the resolution.

Specify a forced height by adding a parameter in the format &h=4000 to the URL and a PNG will be automatically downloaded.

	Sales volume 7d	Floor price	Floor change 7d	Floor cap	Items	Listed
Tabor Robak Broken Printer View detail	$65,257 View detail	$45 View detail	-11.1%View detail	$103,050 View detail	2290View detail	12.6%View detail
Erik Swahn Autoscope (mint pass) View detail	$52,069 View detail	$258 View detail	-View detail	$71,724 View detail	278View detail	2.5%View detail
Entangled Others specious upwellings View detail	$30,000 View detail	-View detail	-View detail	-View detail	4View detail	0%View detail
Michael Neff Rules of the Game View detail	$13,038 View detail	$321 View detail	-View detail	$16,050 View detail	50View detail	22.0%View detail
Petra Cortright Botanical Study #1 View detail	$1,536 View detail	-View detail	-View detail	-View detail	1View detail	0%View detail
Margaret Murphy Los Angelizing View detail	$1,200 View detail	$1,000 View detail	-60.5%View detail	$25,000 View detail	25View detail	4.0%View detail
Erik Swahn Fields View detail	$1,186 View detail	Ξ0.1 View detail	-30.0%View detail	Ξ80 View detail	800View detail	5.1%View detail
Frank Manzano ScheduledProgramming View detail	$900 View detail	$500 View detail	0%View detail	$15,000 View detail	30View detail	10.0%View detail
Pierre Casadebaig Ridge Regression View detail	$690 View detail	$270 View detail	-1.9%View detail	$34,560 View detail	128View detail	5.5%View detail
Kjetil Golid Monument View detail	$666 View detail	Ξ0.275 View detail	-9.1%View detail	Ξ49.5 View detail	180View detail	10.0%View detail
Auriea Harvey The Unanswered Question View detail	$500 View detail	-View detail	-View detail	-View detail	16View detail	0%View detail
Matt Perkins Lake Festival View detail	$445 View detail	$220 View detail	0%View detail	$44,000 View detail	200View detail	9.0%View detail
Cory Haber Blooms View detail	$411 View detail	$280 View detail	0%View detail	$56,000 View detail	200View detail	11.5%View detail
Tù.úk’z Isle of Alcina View detail	$410 View detail	$500 View detail	-18.0%View detail	$22,000 View detail	44View detail	9.1%View detail
0009 urbn artfct View detail	$325 View detail	$450 View detail	0%View detail	$22,500 View detail	50View detail	24.0%View detail
Maya Man I'm Feeling Lucky View detail	$215 View detail	$300 View detail	-100.0%View detail	$109,800 View detail	366View detail	3.6%View detail
Paolo Čerić Drift View detail	$155 View detail	$66 View detail	-9.1%View detail	$61,908 View detail	938View detail	7.9%View detail
Anaglyphic Antichambre View detail	$150 View detail	$99 View detail	0%View detail	$14,949 View detail	151View detail	2.0%View detail
Jacek Markusiewicz Barbarians View detail	$129 View detail	$450 View detail	-100.0%View detail	$144,900 View detail	322View detail	3.1%View detail
Zancan Landscape with Carbon Capture View detail	$87 View detail	Ξ0.007 View detail	+359900.0%View detail	Ξ85.515 View detail	11402View detail	2.8%View detail
Olga Fradina TILE View detail	$75 View detail	$200 View detail	-50.0%View detail	$10,000 View detail	50View detail	10.0%View detail
KRANKARTA Drop View detail	$40 View detail	$59 View detail	-32.2%View detail	$4,661 View detail	79View detail	10.1%View detail
Studio Yorktown Tekton : Optima View detail	$30 View detail	$55 View detail	0%View detail	$14,080 View detail	256View detail	5.9%View detail
Harvey Rayner Quasi Dragon Studies View detail	$0 View detail	$76 View detail	0%View detail	$164,540 View detail	2165View detail	31.3%View detail
Erik Swahn Autoscope View detail	$0 View detail	$5,000 View detail	-View detail	$205,000 View detail	41View detail	4.9%View detail