𝙜𝙢… 𝙩𝙝𝙞𝙨 𝙞𝙨 𝘽𝙞𝙜! I’ve been asked by the artistic Director of Rialto Theater to be the Associate Artist in Residence for 2026! The resulting work will be presented in the theatre’s Autumn 2026 season. More soon…!

Last 2 eds left!!!!!!!/11 hAAA ᵦₐₜₕₜᵤᵦ ᵣᵤᵦᵦₑᵣ thnk UUUUUU smmm @kaya45816520 and @joshuasobel for collecting her !!!! nwn -`♡´- 🦆🦆

DROP !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 🧨🧨🧨🧨 ✶.✶.✶.✶.✶.✶.✶.✶.✶. ■8eds _ 28.2xtz xwx this was rlly common on my country for a while in production since april bc i kept redrawing it hkjdhsjkhgfjh ✶.✶.✶.✶.✶.✶.✶.✶.✶. Iinks ▼

interesting.

Know your Meme link below ↓

▼ ◦•● LUX_KILL exhibition Something ✦ 𝙪𝙣𝙙𝙚𝙧 the Rialto Theater Stage… has been rendering itself…

✦ How would you describe your collection and personal taste? ✦ @VilleDeVille - I also have a background as an artist and began my practice with painting in the early 2000s, later expanding into different forms of digital art. I first encountered digital creativity through the demoscene and Assembly in the 1990s. In another sense, I grew up with digital culture from the early 1980s, before “digital native” generations were discussed. I was also involved in electronic music culture and have engaged with art through literature, fashion and performance, among other fields. Many such practices were not recognised as art then, and some still are not. Onchain art continues to face a similar problem because institutions tend to respond slowly to new forms of creative practice. My collection is broad. I’m interested in artists who build their own methods and visual languages regardless of medium. I look for strong conceptual foundations and works that reward closer attention. Physical and digital approaches, established and emerging artists, and experiments that may not yet have a recognised category meet in my collection. I see no reason to separate onchain art from the wider field of contemporary art. I’m more interested in exploring what art can be than in validating whether it belongs within an existing category. ▼ lasso heels, by @dancevatar ▼ The Question of Identity, by @RedruMxART & @tezvendsmachine

⚡️I created this new piece for the #ICONÆ collection using mederu.art, processing and mixing multiple sources. Please take a look at how the modules are connected.

ketchup donor available to collect

new

So, I’ve been working on something… I recently relaunched what I used to call Colored by Pal as Paloma Projects, an art advisory and creative studio.

Gm ☀️ Find me on Transient 🔗transient.xyz/@Thurman

Hermés Kelly👜 (organic biological media)

⚡️Here is my @RGB_MTL 🌈curated by @EmpressTrash video @absurdeity

gm! 🧡 Meet my upcoming drop⤵️ 🟪 LEGS 🟪 170 artworks. 170 stories. Algorithmic Neo-Geo Assemblage. Created with my custom procedural algorithm. The algorithm creates form; the human sees a story. Collection, mint, price & everything else 🔗↓ dm me to join the allowlist

Turning computational exhaustion into physical choreography is fascinating.

Love your work dear 🤍🤗

6/8 Suzana Phialas, aka @dancevatar , is a Cyprus-based performance and interdisciplinary artist whose practice explores the meeting point between choreography, embodiment, and machine intelligence. Drawing on her background in dance and performance, she approaches movement itself as a kind of algorithm, translating the gestures and rhythms of the physical body into digital and AI-generated forms. Her works move fluidly between live performance, video, installation, and computational imagery, creating strange bodies that seem to inhabit the space between human presence and artificial sentience. Rather than treating AI simply as a tool for producing images, Phialas uses it to question how machines perceive movement, what an artificial body might be capable of, and where the boundaries between biological and digital bodies begin to dissolve. I have chosen to show the 4 videos from her Latent Fatigue collection, released by @_second_guess on @objktcom . Latent Fatigue examines the exhaustion of the synthetic body. The work traces the collapse of “the body”—a hyper-real form pushed to its limits by the endless demand to perform the self.