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JUN 22

2025-06-22T17:00:00Z

tinysoul

level 1️⃣

98 artworks

SOLOS

level 1️⃣ comprises a cast of absurd and surreal characters, that are drawn from the depths of internet culture and meme lore. These characters, though often humorous, are imbued with an eerie sense of depth, evoking the strange beauty found in Studio Ghibli's most peculiar stories. They exist in a world where nothing makes complete sense yet everything feels intimately relatable. Through the looping GIFs and fragmented visuals, tinysoul gives these figures life, turning fleeting internet memes into permanent characters with their own stories, struggles, and emotional arcs. In level 1️⃣, the absurdity of the digital realm comes alive in characters that oscillate between the hilarious and the haunting. They become scenes that feel like dreamlike, glitchy fragments of a larger narrative—where humor is twisted, and meaning is constantly evolving. Tinysoul invites us to engage with these figures, to see ourselves reflected in their pixelated oddities, and to find new interpretations in the strange, shared world they inhabit.

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DATE TBA

UPCOMING

Erik Swahn

Soma

SOLOS

The intense chromatic bursts in Soma are partly a continuation of Erik Swahn's work with colour and abstraction, as seen in Fields (2023). At the same time, they mark a departure from his more geometrically focused work, such as Farbteiler (2021), Punktwelt (2022), and Funktor (2023). In Soma (Greek for "body"), both form and colour have dissolved into their smallest particles – a fine chromatic dust. In their place are nebulous clouds in a state of becoming, rather than possessing a final form – suggestive rather than representational. The formations in Soma simultaneously evoke anatomic, cellular, or even atomic structures of the microcosm, as well as celestial bodies of the macrocosm. The bodies in Soma are composed of colour, light and darkness. They emerge from a dark aether as embodiments of pure randomness, shaped by simple generative rules. Some appear as constellations or configurations of matter; others consist of multiple bodies, attracted and repelled by each other – some of them colliding.

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JUN 23

BURNT UMBER BROKEN SILVER AMERICAN SPIRIT

2025-06-23T17:00:00Z

Petra Cortright

BURNT UMBER BROKEN SILVER AMERICAN SPIRIT

44 artworks

SOLOS

Petra Cortright's digital paintings lie at the core of her practice, merging traditional artistic genres like landscapes with the fluid, ever-changing aesthetics of the digital age. Her latest series, BURNT UMBER BROKEN SILVER AMERICAN SPIRIT, exemplifies this fusion through uniquely created compositions. Drawing from the imagery of the American West, the works layer geometric shapes, doors, and abstract textures over richly coloured depictions of the landscape. The doors evoke a sense of transition, inviting viewers to step into portals that symbolize shifts between states of being or consciousness, much like her earlier Room series (2021). Cortright’s vibrant paintings are feasts of visual intricacies, where abstracted layers of texture suggest an interplay between natural and artificial elements. The juxtaposition of idyllic scenes and destructive forces, such as fires, serves as a metaphor for the polarizing aspects of life in America, evoking themes of freedom and conflict. This body of work challenges traditional boundaries, inviting viewers to reconsider what painting means in a digital age and to explore realms of imagination, fantasy, and introspection.

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JUN 25

2025-06-25T17:00:00Z

Andreas Rau

Symphony for n Metronomes

Fakewhale

Symphony for n Metronomes is a code-based decentralized performance created by Andreas Rau, conceived as a generative system where code, blockchain, interface, and synchronized time articulate an evolving field of presence. Inspired by the temporal explorations of Ligeti’s Poème Symphonique (1962) and Ichiyanagi’s Music for Electric Metronome (1960), the project repositions the concept of the metronome as an active agent within a distributed generative architecture. The generative structure of the work positions the act of minting as an active and necessary gesture for the ongoing evolution of the digital artwork.  Each minted iteration introduces a new metronome into the system, expanding its rhythmic and visual field in real time.  Collectors engage directly with the evolving architecture of the work. Their action contributes permanently to the system’s temporal structure, sustaining the continuous articulation of the performance.  Symphony for n Metronomes operates as a living system. It fully unfolds when multiple iterations are presented in spatial configurations that extend the digital field into a shared experience. The work’s architecture extends into a parallel live performance presented on the dedicated project site met.andreasrau.eu, where every mint is reflected in real time.  Collectors’ contributions are made visible within the evolving system through a structured topology of participation.  Three levels, Metronome, Ensemble, and Orchestra, articulate the presence of each collector within the performance. They shape a dynamic public field that unfolds alongside the minted editions.  This live interface functions as an integral layer of Symphony for n Metronomes, continuously synchronizing on-chain actions with the project’s temporal and spatial articulation.

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JUN 30

2025-06-30T17:00:00Z

0009

Synthetic Bloom

Artist Rooms

Impressionistic softness combined with "post-photographic" structure.  How something can feel natural and organic at first glance, but reveal itself to be entirely constructed the closer you look, that's really the core of this work. From far away, these pieces might read as impressionistic, just wildflowers, warm light, soft fields. But up close, you realize the petals aren't really petals. They're folds. Seams. The texture of something synthetic, like a wrinkled jacket or fabric from a certain era. I was heavily influenced by late '90s and early 2000s street fashion, fabric from Steep Tech, all those paneled, utility-based jackets. Over time, those visuals became memory for me, and in these outputs, they kind of came back. Not as literal references, but as texture that feels worn. The flowers are "engineered" using that visual vocabulary. I wouldn't call this work escapist, though. It's not about running away into nature, it's about trying to bring these two worlds together in a unique way. The opposing ideology of mixing two things that feel opposite and building something new out that. The world I grew up in, and the one I'm drawn to now. 0009

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JUL 01

2025-07-01T17:00:00Z

Tabor Robak

Verse Patron Token

200 artworks

Art Technologies Limited - the parent company of Verse & SOLOS - is raising funds through the sale of new equity. We will welcome investors with Patron Tokens - symbols of our appreciation for joining us in shaping the future of digital art. Learn more.

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DATE TBA

UPCOMING

Aluan Wang

Polypaths | 植徑集

Galerie Met, Ivan Zhyzhkevych

In nature, every plant emerges like a finely tuned set of parameters in motion. Phyllotaxy may appear as opposite, alternate, or whorled. Internode length adjusts in response to light. Leaf margins range from entire to serrated or undulate. The angles of branching and the density of nodes together compose the posture and rhythm of a plant’s body. These seemingly incidental traits are, in fact, the result of a deep and intricate logic shaped by time, adaptation, and systemic interaction. To me, nature is the earliest and most profound generative artist. Generative art, in this sense, becomes a way of reading its original language. Polypaths is a system I have cultivated since 2023. In truth, its foundations were laid even before Equinox was completed. It does not aim to imitate plants but to understand them — to explore how they branch, how they negotiate limits, and how they thrive in the tension between order and chaos. Each version of the work begins with the same initial conditions, yet diverges through subtle shifts to form an outcome that is entirely unique. This uncertainty is not mere randomness but a structured openness, a reverent acknowledgment of the world’s inherent multiplicity. In programming, a “fork” refers to version control — a split in the timeline where new possibilities emerge. In life, a fork is a decision, a turning point, the shape of a fate. And in\* Polypaths, it becomes the aesthetic core. Each of us is shaped through countless bifurcations, continuously generated by the choices we make. Aluan Wang

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