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Anne von FreyburgFloral arrangement 4 ( After Anne Vallayer-Coster, floral still-life), 2026Textile painting, acrylic ink, synthetic fabrics, lace, fake fur, PVC fabric, tapestry fabric, sequin fabrics, beads, hand embroidery, polyester wadding, and hand-dyed tassel fringes on canvas.250 x 280 cm
98 3/8 x 110 1/4 in -
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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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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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