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Maja PetricGlitched Sublime: Wildflowers, 2026Dynamic light box responding to real time data
(light is programmed to reflect the shifts of a changing climate that affects the wildflowers)
Custom AI system, generative software, sculpted paper botanical elements, projector, lenticular lens,
Tru Vue Optium museum acrylic, real-time environmental data, metal frame76 × 91 × 12 cm
30 × 36 × 5 in -
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Stephan BreuerSUPERSTAR I - The First Apparition, 2026Film, 1 min 13 sec
The film begins where thought begins: in equations.
The fundamental formulas of physics appear suspended in deep space, golden inscriptions drifting among stars. From this field of pure intelligence, the eight-branched star emerges, not as an object being made but as a form condensing from the fabric of the cosmos.
It travels across planetary systems, curves along the Earth, and descends into the crater of Volcán Acatenango in a burst of light.
What was cosmic becomes geological.
What was thought becomes matter.
Presented alongside the SUPERSTAR I, film and object form a single work in two states of apparition. -
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DefacedOrgan Donor, 2026Organ Donor is a work that attempts to mirror a warped digital collective unconscious. Forms are skewed across a sterile white background, referencing the clean UIs of the platforms we inhabit. The artist sought to extract rawness from inherently sterile software; while working in Adobe Illustrator, the program repeatedly crashed under the volume of vector objects.
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Stephan BreuerSUPERSTAR I, 2026Gold PVD on ultra‑light substrate (nanometric gold deposit applied by vaporization). Laser‑engraved and geolocated satellite GPS coordinates of the crater of Volcán Acatenango, Guatemala.
130 cm
SUPERSTAR I is the first physical manifestation of a 52-meter, eight-branched star conceived for the crater of Volcán Acatenango in the Guatemalan highlands. At 3,976 meters altitude, it will be the highest contemporary sculpture on Earth.
Its geometry encodes Maya astronomical knowledge: the 52-year Calendar Round and the synodic cycles of Jupiter recorded in pre-Columbian observation.
Yet the form exceeds any single culture.
The eight-rayed structure echoes the Chinese character mi (米), a foundational figure in calligraphy, containing all directional strokes radiating from a single center. The number eight signifies expansion and fortune; gold is not simply material but cosmological, one of the five elements, the color of heaven.
These correspondences are not designed.
They are discovered.
Rendered in gold PVD at nanometric thickness, the work does not represent light. It operates as light. Its mirrored surface transforms the viewer, the space, and the atmosphere into active components of the image.
Placed directly on the ground, it rejects the logic of the pedestal.
Celestial geometry is brought into the space of encounter.
Each of its eight branches is laser-engraved with five GPS coordinates, certified by CONAP (document DAGeos-52-2026), marking the exact site of its monumental counterpart.
The object contains its own destination.
Artist Statement:
The first question I asked myself as an artist was simple:
how far can I go with only a phone and a computer?
That question has taken me to the Giza Pyramids, to the Louvre during its complete closure, to the Palais Royal, and to a volcanic crater at 3,976 meters in Guatemala. Each project was conceived, coordinated, and completed without a studio, without the artist’s hand ever touching the material. A phone and a computer were the only constants.
This is what I call Mind Made.
Digital technologies are not tools to produce images. They are the architecture through which the mind generates reality.
When I coordinate a 52-meter golden star across continents, working simultaneously with engineers, environmental authorities, indigenous communities, and institutions, the digital space is not a support. It is the site where the work first exists, fully formed, before the physical world aligns with it. My medium is consciousness, structured through digital architecture.
Matter is not my medium. Matter is what yields. -
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Adam MartinakisInterference Patterns - The Human Project, 2026Interference Patterns approaches the human being as a project in progress - an entity defined not by its final form but by its continuous state of becoming. Using 3D digital space as a metaphysical laboratory, I explore the invisible transitions of the soul: the moments where the physical body dissolves and a deeper psychic reality begins to surface.
For me, the digital realm is not a cold or mechanical void, but a field of pure potential. Freed from gravity, linear time, and material resistance, I can strip away the noise of matter to reach the essence of human experience. This process reflects my Idealist belief that the material world is a representation of a deeper consciousness, and that virtual space can point back toward that original source.
The visual language of the series relies on a stark symbolic contrast: Vital Red embodies the visceral, organic human element, while Clinical White evokes the transcendental ether. The vertical interference lines and fragmented forms act as metaphors for constant human mutation - signals flickering as they search for coherence, identity, and equilibrium.
Ultimately, this work continues my ongoing search for Balance. It captures the fleeting moment where the material and immaterial meet, suggesting that even in our most fractured state, we remain part of a singular conscious whole. We are not merely the sum of our data, but the awareness that imagines it into being. -
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Jang Yeonjeong (Forside)Digital Sublime Flora: Frozen Bloom II, 20264K UHD VideoResolution: 2160 × 3840 (9:16)
Duration: 40 seconds
Frame Rate: 30fps
Codec: H.264 (MP4)
Audio: Stereo AAC, 48kHz
Digital Sublime Flora is a body of work inspired by the idea of a landscape that exists after nature has stopped functioning as a living system. Rather than depicting plants as biological entities, this work focuses on the structures, rhythms and spatial sensations that remain once growth, decay, and ecological cycles are suspended. The series explores how botanical forms can persist as visual and spatial states without narrative progression. There is no blooming, no climax, and no transformation toward resolution. Instead, the work presents a condition of sustained presence—where motion exists as continuity rather than change. Using generative and image-based systems, I construct environments that resemble gardens or archives, yet do not follow natural hierarchy. No single form dominates the space. Elements coexist through balance, repetition, and subtle internal movement, creating a field where the viewer’s perception gradually shifts from observing objects to inhabiting space.The curatorial focus of this work lies in redefining the sublime not as spectacle or excess, but as quiet immersion. The sense of sublimity emerges through scale, depth, and duration—by allowing viewers to remain within a spatial condition long enough for perception to slow down. Digital Sublime Flora proposes a speculative but restrained ecosystem:a digital landscape that does not grow or disappear, but remains. It is an attempt to imagine how nature might be remembered, reorganised, and experienced in a time when its original logic can no longer be taken for granted.
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Aiminath SulthanaBirds Blade, 2026Generative Light Installation (GLSL / Spatial Mapping)The ‘Birds Blade’ is a conceptual inquiry into the fragmentation of time and the fragility of presence. The central curatorial theme is 'Quantum Hopping'. In the quantum realm, particles can disappear from one location and reappear in another instantaneously. ‘Birds Blade’ applies this subatomic logic to a macroscopic, biological subject. By portraying a bird—a universal symbol of freedom and life—as a series of disconnected, high-velocity flashes, the work challenges the viewer's reliance on continuity. Thematically, the work explores the tension between the 'Structure' and the 'Spectral'. This duality mirrors the human experience of memory: we often remember the 'shine' or the feeling of a moment more vividly than the physical structure of the event itself.
Limited Edition (1 of 5) | £3,200: 4K ProRes 4444 Master File + COA.
Unique Work (1 of 1) | £9,500: 4K Master + Proprietary Technical Rider for
dual-layer laser augmentation.
The System License (Artist Proof) | £25,000: Original GLSL Source Code +
MadMapper Project Files -
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Mia ForrestOrchids, 20265 original 1/1 brass plates, housed in bespoke linen box
Each limited edition box includes 1 brass plate and its accompanying embossed edition.
Edition Information:
Brass plates are 1/1
Blind Embossed Works on Paper are 1/25 + 2 AP (Somerset Satin White 300gsm)Brass Plate | 20cm (W) x 30cm (H) x 0.63cm(D)
Blind Embossing [Work on Paper] | 25cm (W) x 35cm (H)
Box | 27.5cm (W) x 37.5cm (H) x 3cm (D) -
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OperatorRepeat as necessary, 2026Repeat as Necessary is a 31-minute live performance and permanent on-chain infrastructure by Operator. It uses movement, sound, and costume to guide an audience's nervous system through a collective experience of presence: activating mirror neuron networks, autonomic regulation, and neural entrainment without doctrine, belief, or cultural gatekeeping. Just a body, and the willingness to stay still.
The work begins from a radical premise: the body is a formidable instance of technology, the most ancient, democratic, and universally shared. In this work, choreography becomes an instruction manual for forgotten circuitry. The rhythmic architectures of sacred chant and Sufi sema music are reimagined not as religion, but as sonic architecture for nervous system attunement. What is notated is not what the dancers' bodies are doing, but what is happening inside the bodies of the audience. It is a score for the nervous system of everyone present.
The works of performance depend on foundations, gatekeepers, and living memory, and when those systems fail, the work is lost. Operator built something different. The Performance Operating System is a 1/1 NFT and registry contract that functions as a living interface, maintaining the structure and location of every component in the system across ten smart contracts on Ethereum, with a 200-year Arweave backup. One collector holds the complete architecture for restaging the work. The registry defines roles for a steward or archivist who can continue adding to the contracts, updating data, and extending the system over time. No external server. No IPFS. No gatekeeper.
The 31-minute work is encoded into the 40 Notations: fully on-chain visual scores, each a choreographic notation and standalone artwork rendered as SVG directly from contract data. A 60-page Notation Legend maps every visual element across all four chapters. What is notated is not only what the performers do, but what happens inside everyone present.
The Performance Operating System is an open protocol. Any artist or institution can adopt the architecture for their own work. Operator built a system that gives performance cultures autonomy over their own survival. It is not documentation of a past performance, but the engine for future ones.
Further documentation: https://docsend.com/view/ycee2975t4gz73ns
Collection of 40 Notations: https://opensea.io/collection/repeat-as-necessary-by-operator
Tools
Choreography & Performance: Live performance, human body
Smart Contract Development: Solidity, SSTORE2, LibZip (Solady), Python
Storage: Ethereum, Arweave, GitHub
On-Chain Rendering: SVG generation from compressed contract data
Visual & Notation Development: Charcoal, paper, ASCII blueprinting, Adobe Illustrator, Adobe Photoshop, projection
AI (Claude): Formation blueprint development, information system management
Operator Choreography Method: Proprietary framework for motion data processing, on-chain choreographic storage, and performance-to-infrastructure translation (est. 2023)
Motion Capture & 3D: Move AI, Computer vision, Blender (data cleanup)
Sound & Music: Ableton Live
Costume & Textile: Custom costume design, fabric, textile construction
Documentation: Videography, photography, Adobe Premiere Pro -
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OperatorGenerative Choreography Method, 2025Painting (acrylic on canvas), performance artefact, NFT certificate175 x 240 cm
68 7/8 x 94 1/2 in
Operator's Generative Choreography Method is the technical backbone of Human Unreadable which makes choreography collectable. The hand drawn method is on view whenever Human Unreadable is exhibited (thus far Basel, Seoul, Miami, Geneva). At Art Basel Hong Kong, Dejha Ti painted the method on a large scale canvas that contains graphic and textured acrylic paint. This piece will be used as a visual centerpiece of the performance, added to on stage, and signed afterwards. For the first time, this method painting is offered as a collectable artwork/performance artefact. Post-performance the canvas is stretched on a wooden frame. -
DefacedThe Idea Institute's Video Guide to Finding an Idea, 2025The work is a tongue-in-cheek exploration of the artist's own creative process, making the abstract workings of his inner world grounded and tangible through performance and puppetry. Set inside the artist's mind, the artist and his collaborators play the scrappy team of 'The Idea Institute', tasked with taming and extracting ideas personified as whimsical puppet characters, offering an affectionate and playful window into the private world of making.
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Irem BugdayciInference, 2025Inference (2025) is an interactive artwork that uses custom AI software and motion sensing to construct a shared field of vision between artificial and biological intelligence. Sixteen layers of natural imagery are continuously processed and reinterpreted by the system, forming a dynamic perceptual model that viewers reshape through gesture in real time. Vision takes shape through active negotiation between sensing, prediction, and response. The work examines how both humans and machines construct reality from partial and uncertain data. Gestural interaction intervenes directly in the system’s inferential process, exposing perception as a feedback loop shaped by expectation, memory, and error. What appears on screen remains provisional, unfolding as an evolving hypothesis about the world. By foregrounding this shared incompleteness, Inference questions the boundary increasingly drawn between human and machine vision. As AI mediates how we see, navigate, and understand our environment, the work suggests that perception has long operated algorithmically through pattern recognition, prediction, and filling in the gaps. Shared seeing with machines makes these processes visible, reframing it as a collaborative act and reconsidering what it means to know and be known in an algorithmically mediated world.
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