Exhibitions of NFT artworks by leading artists. Presented by leading curators.

Featured Zancan, Jamie Reid, Jason Gringler, Jonathan Chomko, Katherine Frazer.

Verse Works

I can"t explain why the sight of a clump of grass growing bravely through the crack of a concrete wall gives me such joy. Or why watching my lawn explode in the spring into a chaotic throng of wild plant species demonstrating their determination to live fascinates me so much. There is something of the order of the unconscious, or of the collective consciousness, which attaches man to nature to the point of affecting his senses in a primal way, whereas I am like many an urban product of modernity and technology.

In my works, nature is not the main subject, but it is a means of depicting, among other things, the vital force, the resilience of the living. There is in its multiplicity and its autonomous, chaotic and organized aspect something that traditional painting did not allow me to capture, other than thanks to infinite labor and a gesture that was far too controlled. Algorithmic art opened up this possibility for me to render nature, in its movement, its density, its wild abundance.

The mesh is a familiar and basic object for the programmer, the framework of any 3D model, it represents the digital.

I used the yellow color for two reasons. First, the color chosen is a pure yellow (#ffff00) in the RGB spectrum, which immediately places it in the digital realm.  On the other hand the colors used for the representation of nature are muted, in order to attach it to the physical world. The background color also corresponds to that of a paper that I often use for my physical drawings.

Then, the yellow functions here as a representation of the sacred, like the illuminations on ancient religious texts. I am very admiring of certain contemporary painters or illustrators who use gold leaf over their drawings, allowing them to bring a surnatural light into their works, to access a higher stratum of symbolic representation looking towards spirituality. I never took the chance to try out this technique, and working digitally gave me that chance. 

The holes in the net that can be observed symbolize the impossibility of capturing the true nature, the real feeling that one experiences in its presence. The flowers, twisted to the extreme under netting, are there to evoke the sense of hypocrisy in using technology to create art that evokes nature, as a reminder of the impossible environmental challenges that we are facing while galloping toward the chimeras of technological progress. - zancan

This artwork was nominated on Verse by [Tyler Hobbs](https://verse.works/persons/tyler-hobbs), and 30% of the initial sale will be donated to the charity [Girls Who Code](https://girlswhocode.com/).

Rapture Captured #116

I can't explain why the sight of a clump of grass growing bravely through the crack of a concrete wall gives me such joy. Or why watching my lawn explode in the spring into a chaotic throng of wild plant species demonstrating their determination to live fascinates me so much. There is something of the order of the unconscious, or of the collective consciousness, which attaches man to nature to the point of affecting his senses in a primal way, whereas I am like many an urban product of modernity and technology.

In my works, nature is not the main subject, but it is a means of depicting, among other things, the vital force, the resilience of the living. There is in its multiplicity and its autonomous, chaotic and organized aspect something that traditional painting did not allow me to capture, other than thanks to infinite labor and a gesture that was far too controlled. Algorithmic art opened up this possibility for me to render nature, in its movement, its density, its wild abundance.

The mesh is a familiar and basic object for the programmer, the framework of any 3D model, it represents the digital.

I used the yellow color for two reasons. First, the color chosen is a pure yellow (#ffff00) in the RGB spectrum, which immediately places it in the digital realm.  On the other hand the colors used for the representation of nature are muted, in order to attach it to the physical world. The background color also corresponds to that of a paper that I often use for my physical drawings.

Then, the yellow functions here as a representation of the sacred, like the illuminations on ancient religious texts. I am very admiring of certain contemporary painters or illustrators who use gold leaf over their drawings, allowing them to bring a surnatural light into their works, to access a higher stratum of symbolic representation looking towards spirituality. I never took the chance to try out this technique, and working digitally gave me that chance. 

The holes in the net that can be observed symbolize the impossibility of capturing the true nature, the real feeling that one experiences in its presence. The flowers, twisted to the extreme under netting, are there to evoke the sense of hypocrisy in using technology to create art that evokes nature, as a reminder of the impossible environmental challenges that we are facing while galloping toward the chimeras of technological progress. - zancan

This artwork was nominated on Verse by [Tyler Hobbs](https://verse.works/persons/tyler-hobbs), and 30% of the initial sale will be donated to the charity [Girls Who Code](https://girlswhocode.com/).

Rapture Captured #266

Diango Hernndez translates a world view through waves. The project began seven years ago by translating texts into a wave font of his own design.  Perhaps at first the waves referred to the short but often impassable distance between his homeland island, Cuba and the nearest dry land. But they resonate as a more universal network of communication across vast conceptual distances. Diangos waves have since evolved into a complex visual language; everything may be mediated, filtered, translated, textured by waves.  Its a way of seeing.  A political project, with a deeply aesthetic heart.

For his new NFT, Diango has been testing the language of painting through the possibilities afforded by digital media.  Hes testing the possibilities of portraiture - that most established genre of painting.   As he says, In the centre of it all should be the human figure, our bodies and ideas, our dreams Can the language of painting inhabit the digital space, beyond merely an image?  Could the painting do something in this space that it cannot on the canvas?  And could we capture the very process of how it might do it?

Ophelia 8 #13

Rapture Captured #153

Rapture Captured #63

Bloody Empire is a brand new work that continues Reids interest in subverting the portraiture of political figureheads and monarchs. Reid is famously known for his iconic artwork for the Sex Pistols, including God Save the Queen and Never Mind the Bollocks, Heres the Sex Pistols. In this composition, he switches the subject to Queen Victoria who was in power while the British Empire conquered the world. The blood dripping from the corner of her mouth alludes to the ruthlessness and power of the monarchy both then and now. The cut-out letters across the NFT, akin to a ransom note, are typical of Reids work. Over the years, Reid has retained an active role in politics and social activism through a variety of media. His practice which spans more than five decades remains witty, powerful and iconic. His works articulate key issues of our time and call on racism, criminal justice systems, nuclear weapons, civil liberties and equality. 

*"People who talk about revolution and class struggle without referring explicitly to everyday life, without understanding what is subversive about love and what is positive in the refusal of constraints, such people have a corpse in their mouth."*

100% of the proceeds from the initial sale of the NFT will be donated to The Florence Institute in Liverpool. [The Florrie](https://www.theflorrie.org) a community centre with an incredible initiative in which Reid has lived and worked for over 30 years.

Bloody Empire #3

Bloody Empire #1

Rapture Captured #109

Rapture Captured #131

Rapture Captured #41

Rapture Captured #217

Rapture Captured #102

I began experimenting with the *eBay* sculptures in 2015, however, most of them were destroyed when I relocated from New York to Berlin. I recall that I was looking at art with increasing frequency on my phone; an industrially produced object that is bought, used, sold, and thrown away. I had always wanted to explore the 'readymade' object (as sculpture) with perhaps only slight augmentation.

Using expired iPhone technology was an obvious choice for me as the materials are an amalgam of similar industrial ingredients that I find myself using within my studio practice. As tech is designed to render itself obsolete, there is always a plethora of supply on eBay.