-
-
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.
-
-
-
-
Stephan BreuerSUPERSTAR I, 2026Artist Statement:
The first question I ever asked myself as an artist was simple: how far can I go with just a phone and a computer? That question has taken me to the Giza Pyramids, to the Louvre during its complete closure to the world, to the Palais Royal, to a volcanic crater at 3,976 meters altitude in Guatemala. Every one of these projects was conceived, coordinated, and completed without a physical studio, without touching a single material until the work was finished. A phone and a computer were the only constants. This is what I call Mind Made Art. The proposition at its core is that digital technologies are not tools for producing digital outputs. They are a new form of architecture in which the mind constructs reality. When I coordinate a 52-meter golden star installation across continents, working with engineers, environmental authorities, indigenous communities, and institutional partners simultaneously, the digital space is not peripheral to the artwork. It is the space where the work first exists, in full structural detail, before the physical world catches up. For most of art history, the distance between vision and manifestation required physical proximity. The artist had to be present, hands in matter, negotiating with resistance. Digital technology collapsed that distance entirely. It created a new dimension where consciousness can operate at the scale of geography, where a thought in Paris can move a crane in Guatemala. I have spent twelve years exploring what that collapse makes possible. My medium is consciousness itself, transmitted through digital architecture. The gold PVD surface, the ultra-light geometric structure, the volcanic coordinates are the final rendering of something that was already complete in the virtual space of the project. The physical installations are not the work. They are the proof that the work existed. This is why the digital dimension is not an extension of my practice. It is where my practice originates. Every monument, every UNESCO site, every institutional partnership began as a signal sent through a phone. The question I asked at the beginning was never really about limitation. It was about discovering that consciousness, transmitted through digital architecture, has no limit at all.
Two Works, One Origin:
SUPERSTAR I exists simultaneously in two worlds, and that duality is not incidental. It is the thesis made visible. Presented here together for the first time: a film born from digital data, and a physical object that carries the coordinates of its monumental counterpart.
The Film:
The film does not document the installation. It inhabits it. The crater of Volcán Acatenango was surveyed by drone and transformed into a precise three-dimensional LiDAR model. This geological data, rendered in Unreal Engine, becomes the architecture of an immersive journey: the volcanic rock transmuted into gold, the crater seen as a planet from space, the star descending to its exact certified coordinates as if gravity itself had always been pulling it there. The work moves between the real and the virtual until the boundary between them dissolves. That dissolution is the point.
The Physical Work:
The gold PVD star presented here measures 104 centi meters, exactly one-fiftieth of the 52-meter installation certified for Volcán Acatenango by CONAP, the Guatemalan authority for protected natural areas. It is a sovereign work at a different scale, sharing the same origin, the same nano metric gold surface diffracting light rather than reflecting it, the same cosmological geometry. Engraved by laser on each of its eight branches: the five GPS coordinates of the installation site, as certified by official document DAGeos-52-2026. These are the exact geographic points where the monumental star will be anchored into volcanic rock at 3,976 meters altitude. The object holds within itself the precise location of its cosmic counterpart.
The eight branches encode the Mayan Calendar Round, the 52-year sacred cycle where solar and ritual time converge. The geometry of the work is not an aesthetic choice. It is a cosmological inheritance. -
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. -
-
-
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.
-
-
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) -
-
-
-
-
-
OperatorRepeat as necessary, 2026Repeat as necessary is a 31-minute performance and an activation of the technology of the body itself. Movement, sound, and costume form a hybrid ritual system. The body's hidden protocols activated: mirror neuron networks, autonomic regulation, collective neural entrainment. It was designed from the start to be both experience and infrastructure. Every parameter needed to regenerate the work (notation, music, frequencies, costumes, choreographic direction) lives permanently on-chain. Not as documentation of a past event, but as a functional system that can generate the experience again. Operator calls this a Performance Operating System. Repeat as necessary is the first artwork built this way. Documentation captures what happened, not what can happen.Preserving an object means preventing change. Preserving a performance means the opposite: handing over the parameters that created it and allowing it to live again. Every model depends on a system outside the work itself. Every previous model separates the work from the system that keeps it alive. Operator's Performance Operating System collapses them into one. Not instructions added after. Not reconstruction from fragments. Not oral tradition dependent on memory. Not knowledge held by specific people. The system is the work. Not documentation of a past performance, but the engine for future ones.
What the Performance Operating System changes:
FOR PERFORMANCE ART: A permanent system, on-chain and transparent, that can generate performances indefinitely. No foundation. No gatekeeper. No dependency on any living person.
FOR ARTISTS: A performance that can transact like visual art. Sell a generative system while retaining practice.
FOR INSTITUTIONS + ESTATES: A protocol. Open architecture. Any artist or institution can adopt the Performance Operating System for their own work.
FOR COLLECTORS: The complete system to restage a live performance. Not relic of a past event, but the engine for future ones. Anyone can read the system on-chain. One collector owns it.
CORE INNOVATIONS:
EXPLICIT: Every parameter of the performance made explicit before it was ever staged. Not reconstructed after. Not salvaged from memory. 40 formations with exact timing. Hz frequencies for each chapter. Costume specifications mapped to the body. Choreographic direction in the artist's voice. The intended effect on the viewer's nervous system. Nothing left inside anyone's head.
MACHINE READABLE: Every parameter structured as on-chain data, queryable by contract. Not prose requiring interpretation. Not video requiring expertise. Not oral tradition requiring access to the right people. Embodied knowledge, made legible to machines.
TRUSTLESS: The work does not depend on any living person, any single institution, or any ongoing funding to remain complete and accessible. No foundation. No archive. No gatekeeper. The performance outlives everyone who made it.
The explicitness enables the machine-readability.
The machine-readability enables the trustlessness.
What required governments, foundations, and decades of archival labor for previous generations of performance artists exists here by design, from the start.
WHAT WAS BUILT:
THE PERFORMANCE OPERATING SYSTEM (1/1): A single collector holds the complete architecture for restaging the performance. Music, costumes, choreographic direction, video reference, notation legend, provenance. All stored permanently on Ethereum. This is the engine.
THE 40 NOTATIONS: The 31-minute performance is encoded into 40 formations, each representing a segment of the work as its own on-chain artwork, fully rendered as SVG from contract data. A custom notation system encoding dancer movement, breathing patterns, sound frequencies, and intended states inside the viewer's body. The Performance Operating System reads from them, connecting the collection into a living system.
PERFORMANCE OPERATING SYSTEM (1/1):
AN ARTWORK THAT DISPLAYS ITS OWN INFRASTRUCTURE: One collector holds the complete architecture for restaging Repeat as Necessary. The registry smart contract acts as a living interface (dynamic NFT) and maintains the structure and locations of every component in the system and defines roles for a steward or archivist who can continue adding to the contracts, updating data, and extending the system over time.
Nine smart contracts on Ethereum. Everything needed to restage the performance exists permanently on-chain. Full backup on Arweave (200-year minimum guaranteed storage).
1. registry contract (index and dynamic NFT interface of all operating system on-chain components)
2. notation legend to decode individual scores,
3. motion data of signature moves,
4. music score and its frequencies,
5. costume specifications mapped to body zones,
6. choreographic direction in the artist's voice,
7. video timemap linking every notation to the premiere,
8. provenance ledger that grows with each restaging,
9. collection of 40 notations
Not documentation of a past performance, but the engine for future ones.
PERFORMANCE OPERATING SYSTEM (1/1):
A LIVING INTERFACE CONTAINING ALL COMPONENTS TO GENERATE AN ENTIRE PERFORMANCE: Rooted in the afterimage: stare at something intensely, look away, fatigued photoreceptors produce a complementary ghost. The cyan spectrum reflects this physiology.
THREE ZONES:
Registry Contract Visualised: Reads live on-chain data from its own contracts. Every contract indexed, every connection maintained, the full operating system rendered as navigable interface. The registry maintains the structure and locations of all components, defines roles for ongoing stewardship.
Afterimage: Hand-drawn burn map, charcoal on black paper, stored as base64. Longer formations burn brighter.
Entrainment Field: Tracks holdings across the 40 Notations. When a wallet holds one token from each chapter, entrainment is achieved: cyan intensifies, wallet address appears.
40 NOTATIONS & TECHNICAL DEPTH:
FULL ON-CHAIN RENDERED NOTATION: Each notation is a visual artwork and a choreographic score in one. A custom visual language built from structural compositions translated into charcoal drawings, then vectorised into on-chain SVG libraries. Four visual chapters trace the performance's nervous system journey: threshold, entrainment, dissolution, garden. Dots for seven dancers, arrows for movement flow, chapter-specific breathing symbols, aphoristic statements. Experimental music notation meets concrete poetry. Every mark is a parameter. Timing, Hz frequencies, fabric placement, breath patterns, intended states inside the viewer's body. What is notated is not just what the performers do, but what happens inside the audience.
Fully on-chain. Not references to external files. Vector graphics generated from compressed data stored across ~100 smart contracts on Ethereum.
40 NOTATIONS & TECHNICAL DEPTH:
ON-CHAIN RENDERING PIPELINE: When a notation is requested, the smart contract assembles it in real time. Global symbol libraries, chapter-specific styles, and token-specific layout data are each read from separate SSTORE2 storage contracts, decompressed via LibZip, and composed into a complete SVG. No external server. No API. No IPFS. The artwork is generated from Ethereum itself, every time it is viewed.
1. 100 storage contracts deployed
2. 97% gas reduction via SSTORE2
3. 63% symbol deduplication (1,655 to 620 unique)
4. 34.5% compression via LibZip
Arweave fallback if RPC limits exceeded
THE NOTATION LEGEND: 60 pages. Four chapters. One reading system.
The Notation Legend is the key to the collection—a 60-page document mapping every visual element across all four chapters. It exists as a companion to the 40 on-chain scores and as a standalone work. Every symbol transforms across the performance arc. Breathlines shift from irregular dashes to synchronised waves to explosive rupture to gentle curves. Dancer dots dissolve from solid to outline as individual boundaries soften. In Chapter 3, the navigation markers themselves dissolve: the system enacting what it describes. What is notated is not only what performers do. It is what happens inside everyone present.
PERFORMANCE DESCRIPTION: Repeat as necessary is an experience as well as an activation of the technology of the body itself.
Choreography becomes an instruction manual for forgotten circuitry, ancient patterns inscribed in the flesh. Rather than considering technology as something outside ourselves, this work recognises the body as a formidable instance of technology. Through repetitive movement something begins to dissolve: the boundaries between here and elsewhere, self and other, audience and performer, boredom and revelation. The rhythmic architectures of sacred chant and Sufi sema music, rooted in neural entrainment through repetition, breath, and modal tension, are reimagined not as doctrine, but as sonic architectures for nervous system attunement. Woven together, movement, sound, costume design form a hybrid ritual system: pulse and posture, fabric and form, guiding the body toward trance not through belief, but through sensation. What emerges beyond the terror of staying still is an archaeology of presence. The body's hidden protocols activated: mirror neuron networks, autonomic regulation, collective neural entrainment.
In other words: become worse at being elsewhere. -
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.
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Page
1
of 19
