HB Editons
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Archival Print on Paper
This piece reimagines J.R. Eyerman’s iconic 1952 photograph of an audience in 3D glasses—originally encountered as the book cover for Guy Debord's The Society of the Spectacle—within the contemporary framework of NFTs and digital identity. Eyerman’s photograph captures a collective moment of passive consumption, a striking visual metaphor for Debord’s critique of modern society, where life itself is mediated and commodified through images.
Inspired by my essay Right Click, Save Community: NFTs and the Forging of Future Societies in the Guise of Art, this artwork extends its central thesis: NFTs are no longer mere aesthetic objects but vehicles for building future societies. The pixelated faces overlaying the audience—an homage to CryptoPunks—visualize the transformation of identity, ownership, and culture in the age of blockchain technology. The essay explores how NFTs have catalyzed the creation of decentralized, borderless communities that challenge the structures of traditional governance, and this piece translates that idea into a visual commentary.
By fusing archival imagery with the pixel art aesthetic of NFTs, Right Click, Save Community highlights the parallels between Debord’s spectacle and the new digital paradigms of control and participation. While the original photograph represents the passive consumption of technology, this reimagined version interrogates how NFTs, under the guise of art, create active yet complex systems of societal organization.
This contemporary exploration of Debord’s critique examines the duality of NFTs: as tools for empowerment and decentralization on one hand, and as instruments of commodification and control on the other. It raises critical questions inspired by the essay’s arguments: How do technologies designed for collective agency risk becoming spectacles of their own? Can the convergence of art, culture, and technology truly foster a creative renaissance, or do we remain spectators in another commodified narrative?
Ultimately, the work invites viewers to reflect on the transformative potential of art and technology, echoing the essay’s call to recognize the stakes of creativity in shaping the future of society.
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No.46
Dimensions
1016mm × 1244.6mm
Authentication
Signed by the Artist
Year
2022
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Description text goes here
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Description text goes here
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On recommendation from the print house, this print needs to be laid flat by a framing professional no later than one week after they arrive, to insure they do not retain the rounded shape from the packaging. Due to the layers of ink, leaving the print packed beyond the recommended window could result in the print resisting flattening in the future. Each print is rolled onto a shipping tube, and secured in a custom box. Please take the entire package to the framer so that they may assist you with the unrolling process. Please inform them that the packaging is part of the edition, so that they do not discard the shipping tube or box.
900
Generative Print | Processing | 2013
Seven is a generative art series that explores the seven chakras of the human body as abstract representations of vital energy points—without depicting the physical body itself. Created in 2013, this series interprets spiritual anatomy through a computational lens, transforming symbolic forms into iterative, generative compositions.
The work was created using custom-written Processing code. Seven unique symbols were designed to represent each chakra, and a distinct color palette and grid structure were predetermined by the artist. Within these parameters, the code generated infinite compositions, making each output a unique collaboration between human intention and algorithmic randomness.
900 Chakras is a featured work from the series, showcasing 900 variations of these symbolic forms within a single unified composition. It visualizes multiplicity within structure, identity within pattern—a digital meditation on energy, transformation, and the aesthetics of code.
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No.46
Dimensions
1016mm × 1244.6mm
Authentication
Signed by the Artist
Year
2022
-
Description text goes here
-
Description text goes here
-
On recommendation from the print house, this print needs to be laid flat by a framing professional no later than one week after they arrive, to insure they do not retain the rounded shape from the packaging. Due to the layers of ink, leaving the print packed beyond the recommended window could result in the print resisting flattening in the future. Each print is rolled onto a shipping tube, and secured in a custom box. Please take the entire package to the framer so that they may assist you with the unrolling process. Please inform them that the packaging is part of the edition, so that they do not discard the shipping tube or box.
It’s Raining Elephants and Cows
Generative Print | Processing | 2014
It’s Raining Elephants and Cows is a generative work created during the development of The Animal is Absent. Using Processing software, I built a randomized system that populates a digital canvas with elephants and cows—two culturally symbolic animals in India. The work was an experiment in code, chance, and visual unpredictability.
Not only were the placements determined algorithmically, but the animals themselves were rendered using generative color logic—where a defined palette was assigned, and the program randomly filled in the body of each figure. The result is a surreal composition that appears at once playful and uncanny, as if the animals are cascading from above in a dreamlike ecological collapse.
As part of a broader inquiry into ecological disappearance and symbolic absence, this piece explores the relationship between control and entropy, presence and displacement. It reflects on how digital tools can mimic the loss of agency—mirroring how animals are abstracted, aestheticized, and ultimately marginalized within both cultural and technological systems.
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No.46
Dimensions
1016mm × 1244.6mm
Authentication
Signed by the Artist
Year
2022
-
Description text goes here
-
Description text goes here
-
On recommendation from the print house, this print needs to be laid flat by a framing professional no later than one week after they arrive, to insure they do not retain the rounded shape from the packaging. Due to the layers of ink, leaving the print packed beyond the recommended window could result in the print resisting flattening in the future. Each print is rolled onto a shipping tube, and secured in a custom box. Please take the entire package to the framer so that they may assist you with the unrolling process. Please inform them that the packaging is part of the edition, so that they do not discard the shipping tube or box.