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Tag: Digital art

  • Morgan Buck Sees A.I. as a Rare Chance to Reimagine Creativity

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    Morgan Buck, We’re the Only Winners, 2025. Acrylic on canvas, 20 x 31 inches. Photo: Mario Gallucci; Courtesy the artist and ILY2

    These days, Morgan Buck doesn’t make paintings that look like paintings. With their airbrushed surfaces and grainy, digitized haze, his canvases look like screenshot shitposts pulled from the weirder corners of the internet—and I mean that in the best way possible. Buck doesn’t do lazy nods to digital culture, and his work is meticulously crafted. His recent solo show, “Instantly & Effortlessly,” at ILY2 in New York—the artist’s second with the gallery—demonstrated just how far he’s willing to go in his engagement with the visual detritus of our algorithm-fed lives, marrying the deliberate labor of painting with junk images in something that shines a light on the promises and the pitfalls of both.

    Here’s where I should probably cop to personally loving the weirder corners of the internet, where Buck’s process begins. He scavenges screenshots, video captions, A.I. outputs and stock imagery, manipulates them digitally and uses them as raw material for paintings that are at once funny and deeply uncanny—think deep-fried memes, but more refined. Buck riffs on themes of attention, automation and absurdity while grounding each piece in the technical rigor of photorealistic airbrushing.

    It’s shitposting with a twist: conceptually agile, technically sophisticated and, like the best absurdist memes, sneakily moving. There’s humor and a sense of depravity, along with a real tension between image and object, intention and accident, meaning and nonsense. Some of Buck’s paintings draw you in with their oddness and keep you there with an undercurrent of melancholy. Others are just plain fun to look at.

    Buck can be as irreverent as his paintings suggest, but while he talks about his practice with a casual bravado, there’s an undercurrent of disciplined artistic self-awareness that comes through when he talks about his work. He is, you might say, serious about not being too serious. His paintings are smart without being didactic, technically impressive without being self-important and prompt questions about how we engage with both art and the internet. His work is the most fully realized—and amusing—blurring of high and low culture I’ve seen in a long time, and I caught up with Buck as “Instantly & Effortlessly” was closing to talk about artificial intelligence in the arts, the allure of the airbrush and painting with a sense of humor.

    The title of your exhibition “Instantly & Effortlessly,” which closed at ILY2 late last year, felt like a critique of digital-age gratification. How did you choose it, and what was it meant to signal?

    I thought it was a funny and attention-grabbing title that related to the streamlining of art production with A.I. Ultimately, I’m an artist very interested in process and ideas of labor in art. I have an MFA in craft, so it’s part of my background to be interested in these topics. Part of my goal with my process is efficiency, so having A.I. in the mix is a dream come true. Using A.I. as an artist is pretty much like banging creative heroin: it gets you to the best results without trying. Just instant and effortless. No pain, just gain.

    You use an airbrush technique that intentionally suppresses brushstrokes and painterly “texture” and also obscures subjects. What motivates that choice, and how does the technique support the conceptual underpinnings of your work?

    Honestly, there’s not really much of a “concept” behind it. It’s more of a scam to make people take digital art seriously without them necessarily knowing it’s digital. People seem to want effort from artists for some reason. They don’t want to just see that someone walked up to a machine and pushed the art button. I also think painting translates the digital image into something that reads more human in a more visceral way. Originally, when I started airbrush painting, it was mostly about trying to make the painting look like a digital print.

    A few years before the airbrush came into my practice, I was a painter who painted with heavy brushstrokes and a palette knife and all of that jazz. That painterly materiality gets to the point where it’s just a default filter that says, “I’m a painted painting painted by a painter” in every piece of art one makes. It’s a very boring effect when you think about it, and it’s also not effortless either. If anything, it’s trying way too hard.

    For this reason, I became tired of painting, and for a year and a half, I didn’t paint. I just thought painting was for poseurs. This is when I started focusing on digital images that I made with my cell phone panorama. I’d pull up Google Images with a bunch of weird thumbnails and do a screenshot with the panorama distorting the images into a surreal, blurry glitch collage. They had cool compositions and really looked like paintings, but weren’t. I’d print the images and exhibit them like photography. Pretty instant and effortless.

    An airbrushed painting shows a headless figure dressed in a black turtleneck, seated in front of a stone wall, with only their hands—fingertips pressed together in a triangular gesture—clearly visible. The rest of the image is blurred and indistinct. At the bottom, a white subtitle reads: “I don’t even know the word philosophy.”An airbrushed painting shows a headless figure dressed in a black turtleneck, seated in front of a stone wall, with only their hands—fingertips pressed together in a triangular gesture—clearly visible. The rest of the image is blurred and indistinct. At the bottom, a white subtitle reads: “I don’t even know the word philosophy.”
    Morgan Buck, I Don’t Even Know the Word Philosophy, 2025. Acrylic on canvas, 28 x 22 inches. Photo: Mario Gallucci; Courtesy the artist and ILY2

    However, the problem with that work was that people needed an explanation for what they were looking at, which is ultimately what made it a fail for me. In 2017, I did an artist residency in Leipzig, Germany, and didn’t really have much access to a printer, so I began to paint the digital images. I had a relapse. I became a total conformist poseur again. It felt great. All of a sudden, no explanation was necessary. It’s a painting. People get that. I came back home to Portland and wanted to blur the line between the digital prints and the painting materials even more. That’s where the airbrush really clicked. Airbrush, with the atomization, can create photographic effects much more efficiently than the paintbrush. It’s a flat surface like a sheet of paper. I’ve been painting with the airbrush exclusively since 2018, and it’s been my default for so long that I don’t even think about it as a novelty like most people do. I just think it’s the only relevant way to paint, period.

    Your paintings often stitch together images sourced from digital overload, from social media debris to A.I. fragments; how do you decide which images deserve to be slowed down and transformed into the physical space of painting?

    I think it’s important to mention that it’s not all digital overload, social media and A.I. The captions are always from my rigorous art practice of sitting on the couch watching TV and movies and taking screenshots of captions that I like, usually while drinking beer. I also use some of my own photos from my real life, so it’s more about a full range of visual experience and not quite as solely tech-focused as your question suggests. To answer your question, though, I often decide using tech.

    I’ll post the digital images on my Instagram stories, and usually I will already know which ones I want to focus on, but if one I’m on the fence about gets a ton of likes, specifically from followers I know have good taste and know me personally, I will usually focus on those. Mostly, I’ll know because it will already look like a good painting, and the caption frames the image in a way that adds to its narrative in a funny or interesting way.

    You’ve spoken about humor, depravity and immediacy in quick-scroll culture; where does your own sense of humor come into play when you’re assembling and recomposing these scenes?

    My sense of humor often comes in when I’m choosing which caption to use. Sometimes the picture is the joke, and the caption is the punchline. The best part is the fat is an example of that. I had DALL·E Mini generate a flesh-tone Jell-O, and that weird waxy cube is what it came up with, and then I had that caption that I mentioned in my collection of captions from Iron Chef Japan. Sometimes it’s an idea that happens on site. The painting I mean he’s a genius as far as I’m concerned was like that. I was in Kauai looking at that twin waterfall everyone likes and instantly imagined an Alec Monopoly mural on the wall of the cliff there. I follow him on Instagram, so his luxurious high-roller genius is drilled into my mind daily. I took photos knowing I was going to make that painting. I don’t have a set order of how it happens. It’s all nebulous. The A.I., photography, digital appropriation, etc., it’s essentially just like how a normal artist would draw. It’s just my version of draftsmanship.

    Your work engages with the idea of dopamine, reward systems and the psychology of attention; do you think painting can counter or rewire the attention habits shaped by digital culture?

    A hundred percent I know it can. My paintings are way more powerful than Mark Zuckerberg. Every time I pick up my airbrush, he starts sweating uncontrollably. He trembles in fear that his reign will all be over soon. Only my paintings can do that. He knows it.

    Seriously, though, I embrace social media and all of the dopamine reward systems. I’ve gained so many opportunities and friends from social media. Where would I be without it? The algorithms and filter bubbles are a problem, though. However, if I were to speculate, I’d bet power and money will continue to win at the expense of ethical concerns even long after my paintings hit gallery walls. I doubt any damage to the attention economy directly linked to my art will be reported.

    I also want to say that with A.I., it’s easy to get tired of the common, easily prompted A.I. art and deepfakes that we see on our Instagram and TikTok reels. That aspect is super annoying to me. However, people forget we have a once-in-a-species opportunity to reinvent our idea of human creativity. A.I. is a tool that is not human that collaborates with you. It’s hard to understate the significance of that. It will only become more unlimited. You can decide how much or how little, which A.I. model for this part of the image or that part of the image, etc. The artists who don’t want to touch it because they think it’s clip art are really just missing out, in my opinion. Do you really think you’re going to make more interesting art with a piece of charcoal? There are so many unconventional ways of using A.I. I just want to encourage other artists to begin the journey and open their minds more.

    How do you hope people will engage with the work that was in “Instantly & Effortlessly” moving forward? Do you want them to laugh, cringe, reflect, feel nostalgia or question their own consumption of images and attention?

    I want people to enjoy the work, think it’s funny, interesting and well executed, but really I’m not an artist who is focused on clear communication goals. Each piece is just data from my process that I’m presenting to the audience. There’s a stream of consciousness there that people can certainly draw meanings from: critiques of capitalism, technology, pretentiousness, cringe and so on. What it means all together is simple. Buy all of my paintings right now. That’s it. Easy.

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    Morgan Buck Sees A.I. as a Rare Chance to Reimagine Creativity

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  • The Algorithm Thinks You’re Ugly: An Interview With Artist Gretchen Andrew

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    Gretchen Andrew at work. Courtesy Gretchen Andrew

    There is a direct line between lip fillers and the techno-apocalypse, and Gretchen Andrew draws that line with her latest Universal Beauty series. This series, recently acquired by the Whitney in New York, reveals the preferences of hidden algorithms that define our current beauty standards. Standards not even Miss Universe contestants can meet. In our conversation, Andrew and I discuss how impossible-to-achieve criteria are flattening people’s relationship to their bodies and homogenizing faces around the globe. What is at stake? “The whole diversity of humanity is lost,” according to the artist.

    Gretchen, an ex-Googler, is a Silicon Valley dropout. After becoming disillusioned by the way technology was designed to exploit users and experiencing a culture that penalized her for dressing like Cher from Clueless, Gretchen left tech to pursue a career in art. In the art world, she felt free to use technology subversively and wear short skirts as a form of 3.0 feminism. Her previous projects: Thirst Trap Glitch Gifs, in which she used SEO optimization hacks to make her vision board canvases the top search result for “contemporary art auction record,” capture the artist’s drive perfectly.

    A woman stands smiling with one arm extended in front of a gallery wall displaying four full-length portrait paintings of Miss Universe contestants in blue-toned backgrounds.A woman stands smiling with one arm extended in front of a gallery wall displaying four full-length portrait paintings of Miss Universe contestants in blue-toned backgrounds.
    There have always been beauty standards, Andrew says, but never before has there been a single, universal, international beauty standard. Courtesy Gretchen Andrew, Heft Gallery

    Gretchen could have continued further along this line, using her brilliance to expose technological loopholes while promoting her name. However, Universal Beauty marks a departure. Or perhaps an evolution or maturing. Not in Gretchen’s interests, but in her tactics. The focus is less about her explicitly and more about the technology that traps us all. Making us feel forever inadequate. Forever ugly. While keeping us craving more of this feeling. And Gretchen will be the first to admit that she is not above social media addiction. But admission, be it via her work or her words, is always the first step.

    First, congratulations on your acquisition by the Whitney. What can you tell us about the Facetune Portraits project, and about the work that was acquired?

    In Facetune Portraits, I look at how A.I.-driven beauty standards are impacting how we experience ourselves and how we experience others. I take what is normally an invisible force—whether it’s digital Facetuning or the way it’s impacting things like lip fillers and plastic surgery—and make it visible so that we can talk about it. In my Universal Beauty series, I look at Miss Universe contestants who are from all over the world—they’re completely gorgeous—and yet they’re not good enough for the algorithms, giving the rest of us absolutely no hope. Not only that, but the contestants are from all around the world. They should look completely different, but we see the homogenizing impact of A.I. when we see Miss Jamaica being given the same body as Miss Finland being given the same body as Miss Philippines. It’s compressing all humanity into a single unified look.

    Describe the Facetune aesthetic. What does the algorithm think is beautiful?

    We’ve grown so used to seeing each other and ourselves on a two-dimensional screen. And because screens are flat, our expectations of how we’re supposed to look are incorporating efforts to mimic that third dimension within the two-dimensional space of the screen. One example is having absurdly big lips. Some people really like the way that those big lips look from the front, but no one thinks that they look great from the side. That’s why we get memes around “duck lip.” There’s this distinct prioritization of making sure we look good on a screen. It reminds me of ancient Egyptian art. The reason why hieroglyphics have bodies that are contorted is that, within the two-dimensional surface, the Egyptians wanted to convey the three-dimensionality of the body. So they represented each body part from its most recognizable angle and sort of stuck it all together. That’s really what’s happening today with our cameras and algorithms: we are attempting to convey three dimensions in the 2D space of a screen.

    A framed portrait-style artwork shows a Miss Universe contestant wearing a bright red gown and a sash reading “USA” against a pale blue stage background.A framed portrait-style artwork shows a Miss Universe contestant wearing a bright red gown and a sash reading “USA” against a pale blue stage background.
    Gretchen Andrew, Facetune Portrait – Universal Beauty, USA, 2025. Oil On Canvas, 48″ x 24″. Photo by @larufoto Luis Ruiz

    What is lost when we do that?

    The whole diversity of humanity is lost. There have always been beauty standards, but never before has there been a single, universal, international beauty standard. We’re also losing connections to our actual bodies. We’re prioritizing how people look over what they do. We’re prioritizing how we look over how we feel. Within that prioritization, we lose a really important connection to ourselves. Another thing we’re losing is the celebration of the individual. I see not just a desire to be beautiful, but a desire to be like everyone else. That feels safer to people today than to actually look like yourself.

    How is this different than in the ‘90s, before there was social media, when media was dominated by a couple channels or Vogue, and these Western exports were setting the dominant beauty standard around the world?

    I think with A.I., the pace and the uniformity of that has increased significantly. Although there has been this Western beauty standard before, maybe there was a slightly different beauty standard in Japan or Kenya. With A.I., there has been an acceleration of this beauty standard convergence. Anybody—they don’t need massive Photoshop skills—can take their image, process it through a Facetune algorithm, and go to a plastic surgeon and say: Make me look like this, which is increasingly happening.

    I read a study out of Cornell that 0.2 percent of the data used to train A.I. comes from Africa and South America. Do you know where most of the data that’s training these beauty algorithms is coming from?

    We’re in a feedback loop, especially with social media. I’m sure you’ve noticed that if you post a photo of your face or other people, you’re more likely to get engagement. I don’t think that’s because that’s what people want to see. I think these platforms are driving more engagement in order to get more images of faces and bodies for training their algorithms. I think Instagram, by volume, must be Western. It’s also not so much who is using it as it is about the quantity of images that people are seeing. Influencers, for example, have so many more followers and get so much more exposure. It doesn’t matter how many regular people are using the app, the majority of people are seeing images that look like these influencers.

    A framed portrait-style artwork shows a Miss Universe contestant wearing a glittering silver gown and a sash reading “Puerto Rico” against a dark red stage background.A framed portrait-style artwork shows a Miss Universe contestant wearing a glittering silver gown and a sash reading “Puerto Rico” against a dark red stage background.
    Gretchen Andrew, Facetune Portrait – Universal Beauty, Puerto Rico, 2025. Oil on Canvas, 48″ x 24″. Photo by @larufoto Luis Ruiz

    What made you interested in addressing social media and beauty standards in your work?

    I like to find seemingly innocuous, frivolous and feminine things and use them as opportunities to have conversations about technology and its impact on our lives. Beauty standards seemed like a ripe area where a lot of people are not thinking about A.I. or the technological apocalypse, and so it became a very wide doorway to have these conversations. On top of that, I think a lot about the physical and metaphorical shapes that we as women contort ourselves into to meet societal expectations, especially as we age. I’m approaching 40, and my friends are getting Botox or plastic surgery. This project is not about shaming women for these things. It’s about understanding where standards come from and making decisions from there.

    Can you talk about your decision to turn these digital images into oil paintings via an oil paint printer?

    I wanted to create a portrait that shows both who we are and who we’re told to be at the same time. I wanted to represent this in a way that would be part of the history of portraiture. Portraits have always shown what we value at any given time. Look at me and my big family. Look at my jewels. Look at my land behind me. Within this current world of A.I., I wanted to investigate what is important to us, and I think what’s important to us is fitting in. It’s being accepted by the algorithm.

    What do you think about celebrities like Sarah Jessica Parker who refuse to get plastic surgery?

    Celebrities like that are really important. They remind us that beauty can exist outside of the algorithm. But also, she’s not coming up today. She’s already a big deal, and she can make that stand now in a way that I think is very important and interesting. What I really want to see is somebody who’s very young make that same decision and succeed. I think it’s going to be a lot harder.

    Totally. I read the memoir Careless People by Sarah Wynn Williams. It’s such a damning portrait of Facebook and Mark Zuckerberg. After I read it, I was so worked up, and I was like, ‘I have to get off social media.’ And then, of course, I didn’t. So my question is, what does awareness do? There’s an idea that it changes things. But my question is: does it?

    As far as what awareness does, I think it makes us cognizant that we are making a choice, even if we continue to use filters and get lip fillers. Technology has made things so seamless that we have slipped into an absurd world where people are injecting things into their lips that they have bought on Alibaba, and it happens to be cement. This is becoming normal so fast. I really believe social media is going to be the tobacco of our generation, with the impact on mental health. Here we are, knowing it’s bad for us, still smoking. When I hang up on this phone call, I’ll probably get on Instagram for a second. Awareness is not going to win the war, but it is at least a way to see what’s going on and maybe have a little bit more agency as an individual, even if societally we’re totally fucked.

    My last question is, if social media is like tobacco and it’s bad for us, why do you still use it?

    Because I’m addicted.

    Yeah, me too.

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  • Onassis ONX Celebrates Five Years of Bridging Art and Technology With a New Space

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    After five years in the Olympic Tower, this hub for artists merging X.R., A.I. and performance is set to move to Tribeca. Photo by Ed Lefkowicz.

    Launched in 2020 by the Onassis Foundation and NEW INC, the incubator of the New Museum, Onassis ONX Studio has evolved into one of New York’s leading hubs for artists working at the intersection of extended reality (X.R.), A.I. and performance. Closely connected to Onassis Stegi in Athens, the two organizations form a dynamic international channel for creative exchange within the broader Onassis Foundation ecosystem. In New York, Onassis ONX provides an accessible acceleration space for ambitious productions, while at Onassis Stegi—founded in 2010—the focus is on education and professional development, nurturing a rapidly expanding arts-and-technology scene. Rooted in Greece’s long tradition of theater and dramaturgy, this has inspired compelling intersections of theater, dance and technology.

    To mark its fifth anniversary, Onassis ONX has announced its relocation from its original venue in the Olympic Tower on Fifth Avenue, just above the Onassis Foundation’s U.S. headquarters, to an expanded 6,000-square-foot space in the heart of Tribeca at 390 Broadway, which also houses PPOW and Matthew Brown Gallery. Set to open in January, the new facility will continue to operate as a hybrid residency, research lab and production studio, offering additional space for exhibitions and public programming that extend the reach of the work developed within the organization.

    The new studio includes a motion-capture stage twice the size of the previous one, a three-wall seamless projection room designed for museum-scale installations and an expanded sound studio—four times larger than the original—equipped with a high-fidelity system for immersive sonic environments. It also features enhanced computational infrastructure, including a new server array designed to support A.I. and generative media.

    A visitor stands in a green-lit room facing large dual projections filled with vivid neon outlines of faces and geometric patterns, creating an immersive and otherworldly digital environment.A visitor stands in a green-lit room facing large dual projections filled with vivid neon outlines of faces and geometric patterns, creating an immersive and otherworldly digital environment.
    Onassis ONX is the Onassis Foundation’s global platform for digital culture, championing artists who push the boundaries of new media through the creation, exhibition and circulation of immersive, technology-driven works. Photo: Mikhail Mishin

    “It’s been amazing to see how much interest, focus and support for art and technology has expanded in New York City and around the world,” Jazia Hammoudi, program director of Onassis ONX, told Observer ahead of the announcement. “It’s been a long journey for many of us, but witnessing this evolution now feels incredibly rewarding.”

    Created as an arm of Onassis Culture—the cultural branch of Greece’s leading philanthropic organization, which has championed “aid, progress and development” since 1975—ONX quickly became central to the foundation’s mission as a cultural innovator and supporter of contemporary art. From the outset, the foundation has operated from a deeply humanist perspective, Hammoudi explained. “It’s an organization that takes its lead from artists rather than dictating from the top down, continually looking to understand what’s actually happening across the cultural and intellectual landscape. It’s about paying close attention to what artists and audiences are thinking about, interested in and in need of. That same responsiveness to artistic and technological innovation is what inspired the foundation’s expansion in both New York and Athens.”

    At its core, ONX is first and foremost an accelerator. Its foundation lies in the production space, tools and technical consultation it provides—but beyond that, it functions as an aesthetic and intellectual incubator. “We offer extensive creative consultation and curatorial support to artists, so they’re not only producing work here but also developing its conceptual and public trajectory,” Hammoudi added. “An artist can come to ONX, build their work and we’ll help them find the right platform for it—whether that’s a festival, an exhibition within our own programs in New York or Athens, or through one of our partner institutions.” Onassis ONX also helps artists secure additional funding, either through internal seed grants and commissions or through its global network of partners.

    A man observes an installation of stacked CRT monitors displaying synchronized video portraits, illuminated by intersecting red light bars against a black gallery wall.A man observes an installation of stacked CRT monitors displaying synchronized video portraits, illuminated by intersecting red light bars against a black gallery wall.
    “Tribeca Immersive” is the Tribeca Festival section co-produced by Onassis ONX. AI Ego | Photographer: Mikhail Mishin

    Since its founding, ONX has supported an impressive roster of artists and collectives redefining the intersection of performance and technology, including LaJuné McMillian, Peter Burr, Stephanie Dinkins, Sutu (Stuart Campbell) and Jayson Musson. Projects developed at ONX often blur the boundaries between theater, gaming environments, installation and live performance—echoing the Onassis Foundation’s broader mission to explore the future of culture and human experience through technology.

    “Our goal is to provide holistic support for artists working in new media because we recognize that many traditional museums and cultural institutions weren’t designed to meet their needs,” Hammoudi said. “Our work is twofold: to provide artists with the resources and infrastructure they need and to help institutions evolve into what 21st-century creativity actually looks like.”

    ONX currently supports about 85 member artists worldwide who have full access to production facilities, seed grants, funding opportunities, internal open calls and ongoing staff consultation. This membership model ensures long-term, sustained support for artists working in new media. “We know that this kind of work takes time—and often requires many different minds and kinds of intelligence to bring to completion,” Hammoudi explained. “As advocates and field builders, we see these ongoing relationships with artists as essential to the growth and vitality of the field itself.”

    The new space will also enable the organization to deepen and expand its global partnerships. As part of its mission as a field builder, Onassis ONX collaborates with international partners to develop residencies, exchange programs, fellowships, exhibitions, funding initiatives and distribution channels.

    An overhead view of an installation featuring a glowing horizontal screen framed by soil and wooden branches, projecting the silhouette of a human figure intertwined with digital circuitry patterns.An overhead view of an installation featuring a glowing horizontal screen framed by soil and wooden branches, projecting the silhouette of a human figure intertwined with digital circuitry patterns.
    Onassis ONX supports artists and creative teams through capacity-building programs, research and incubation initiatives, acceleration services, seed funding, exhibitions, fellowships and collaborative partnerships The Power Loom | Photographer: Mikhail Mishin

    For example, Onassis ONX is a partner on Lincoln Center’s Collider Fellowship, runs a residency exchange with MIT’s Open Documentary Lab and maintains a core partnership with NEW INC, where artists track work within the ONX space. Looking ahead, Hammoudi said the goal is to continue expanding these partnerships to support a growing cohort of artists. “It’s important for us to maintain a deep, ongoing connection with our 85 member artists while also creating ways to offer short-term, project-based support to those who come to us with a specific challenge or need. This expansion allows us to do both.”

    Notions of hybrid identity beyond biological, mythological and digital limits

    Inaugurating Onassis ONX’s new space will be “TECHNE: Homecoming,” an exhibition uniting six visionary artists whose multimedia installations explore hybrid identity shaped through biological, mythological and digital kinships. “The show reflects our belief that technology can deepen the ways we connect—with one another, with our histories and with the stories we choose to tell about the future,” Hammoudi said.

    The artist lineup embodies the kind of interdisciplinary, cross-knowledge collaboration the foundation has long supported, featuring works that range from Andrew Thomas Huang’s two-channel video installation and sculptural environment—rooted in a Buddhist folktale and informed by his collaborations with Björk and FKA Twigs—to Tamiko Thiel’s Atmos Sphaerae, a video installation tracing Earth’s atmospheric evolution from primordial void to Anthropocene through a poetic translation of molecular data into visual form that collapses conventional timescales. Meanwhile, Damara Inglês’s “phygital” installation reimagines the afterlife of Queen Nzinga of Angola through the lens of Cyber-Kimbandism, merging Bantu cosmology, A.I. and 3D design to position technology as both a spiritual conduit for ancestral connection and a tool of anti-colonial resistance.

    A surreal digital forest scene featuring a humanoid figure crouched near a vividly colored animal resembling a feline, both rendered in iridescent tones amid glowing trees.A surreal digital forest scene featuring a humanoid figure crouched near a vividly colored animal resembling a feline, both rendered in iridescent tones amid glowing trees.
    Miriam Simun, Contact Zone (Level 2), 2024. Courtesy of the artist and Onassis ONX

    In a similar spirit, Natalia Manta’s looping animations, digital tombs and hybrid sculptures oscillate between the archaeological and the alien, provoking transhistorical reflections on human time across geographies and collective memory. Sister Sylvester presents Drinking Brecht, an experimental work of automated theater and performance-as-installation that functions as a Marxist-feminist laboratory. Finally, Miriam Simun’s generative three-channel projection Contact Zone Level 2 brings the Swiss Alps into collision with the artist’s own intestines beneath an A.I.’s gaze, continuously reconfiguring to explore the symbiosis between organic and artificial life—a visionary intersection of nature, technology and consciousness beyond human perception. “Technology becomes the mediator for this imagining, allowing a hybrid being—a new chimera—to emerge between nature and self. It’s a wild and deeply thought-provoking work,” Hammoudi said.

    In each case, technology enables artists to construct more expansive worlds around their practice, extending the reach of their bodies and presence while dissolving the traditional genre boundaries that once defined art-making. “Those old taxonomies—this artist does that, that one does this—are becoming almost irrelevant,” Hammoudi noted, emphasizing that many of these works use digital tools not as spectacle but as instruments for expanding how we sense, perceive and experience reality—or move beyond its human limits.

    A long table of participants lit by warm lamps engage in a live performance or workshop, with projected black-and-white visuals of hands and the words “Follow Instructions” on the screen behind them.A long table of participants lit by warm lamps engage in a live performance or workshop, with projected black-and-white visuals of hands and the words “Follow Instructions” on the screen behind them.
    An installation view of Sister Sylvester‘s Drinking Brecht (2024). Courtesy of the artist and Onassis ONX.

    The exhibition will be part of the annual Under the Radar Festival, which this year includes two Onassis ONX performances—We Have No Need of Other Worlds (We Need Mirrors) by Graham Sack and ¡Harken! by Modesto Flako Jimenez—as well as MAMI, a mainstage production conceived and directed by Mario Banushi and commissioned by Onassis Stegi. Together, these works underscore the foundation’s multifaceted support for artists working at the intersection of performance and new technology—an ever-expanding field as creators increasingly experiment with digital embodiment, exploring performance, the shifting boundaries between analog and digital and what it means for the body to exist in real time and space within contemporary digital culture.

    Balancing studio production and public programming

    Looking ahead, Onassis ONX will continue to balance its mission of providing a dedicated workspace for artists with a growing commitment to public engagement. Beginning in 2026, ONX will host two in-studio exhibitions each year—one in January and another in the fall—along with quarterly public programs developed in collaboration with organizations such as NEW INC, Pioneer Works, Rhizome and Lincoln Center. The foundation also plans to continue its major annual off-site exhibition each June, following last year’s presentation at Tribeca Immersive. “This model allows us to keep the studio primarily a development space while maintaining a consistent public presence through exhibitions and thought-leadership events announced on our website and newsletter,” Hammoudi said.

    A visitor moves through an indoor installation resembling a lush, overgrown meadow filled with tall grasses and wildflowers, integrating natural elements with digital and video art components.A visitor moves through an indoor installation resembling a lush, overgrown meadow filled with tall grasses and wildflowers, integrating natural elements with digital and video art components.
    The move from Midtown to Tribeca doubles the studio’s square footage and puts Onassis ONX at the center of downtown New York’s dynamic contemporary scene. There Goes Nikki | Photographer: Mikhail Mishin

    In Athens, the focus remains educational, with ongoing incubation programs such as ONX Futures and the annual A.I. Summer School each July. The Athens space will also present an ONX showcase in May and contribute to the foundation’s broader cultural calendar, which includes the Borderline Festival in April. The foundation also produces Plásmata, its large-scale digital art biennial in Pedion tou Areos Park. Held every two years, it is one of the few outdoor digital art biennials in the world, combining large-scale installations, performances and music with works by both Greek and international artists, including recent participants such as John Fitzgerald, Jiabao Li, William Kentridge and Johan Bourgeois.

    Ultimately, ONX’s mission—across both New York and Athens—is to expand the understanding of art and technology not only as mediums but as frameworks for examining how we live today. As traditional genres continue to dissolve, the foundation remains committed to supporting artists working at these frontiers, where art and life increasingly intersect.

    Audience members sit in a dark theater watching a panoramic multi-channel projection of black-and-white portraits overlaid with animated purple roses and subtitles, blending personal memory with digital imagery.Audience members sit in a dark theater watching a panoramic multi-channel projection of black-and-white portraits overlaid with animated purple roses and subtitles, blending personal memory with digital imagery.
    “TECHNE: Homecoming” is presented as part of Under the Radar Festival, which this year includes two Onassis ONX performances and one mainstage production commissioned and produced by Onassis Stegi. Photo by Ed Lefkowicz

    Onassis ONX Celebrates Five Years of Bridging Art and Technology With a New Space

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    Elisa Carollo

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  • Aleksandra Artamonovskaja On Technology’s Role in Art’s Evolution

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    According to Aleksandra Artamonovskaja, the digital art we make today has a long lineage dating back to the 1950s. Tezos Foundation

    As the world becomes increasingly digital and technologically integrated, it is harder than ever to draw clear boundaries between analog and digital experiences. Technology is now deeply woven into how we express, communicate, share and process information and ideas, making it nearly impossible to find contemporary art completely untouched by digital tools or platforms. Artists working in traditional media inevitably engage with the digital realm in some capacity—even if only as a platform for sharing or a source of inspiration for works created in more conventional formats.

    For this reason, the term digital art can be confusing. Some interpret it broadly to include any work shaped by technology, while others reserve it for “digital-native” practices created entirely within the digital space.

    To explore this evolving landscape, Observer spoke with Aleksandra Artamonovskaja, who has worked in the Web3 art space for nearly a decade and now serves as head of Arts at TriliTech, the team behind the Tezos Art Foundation. Artamonovskaja shared her perspective on the current state of digital art, its market and the broader ways technology and digital platforms are reshaping how art is produced and circulated.

    “You have both professionals in the broader creative economy or artists whose works are exhibited in traditional institutions such as museums, falling into this category,” she tells Observer. Still, there are some defining parameters. “To me, digital art is a form that relies fundamentally on digital technology, not just the tools, but the medium itself, as the product or the process. Digital art allows experimentation across various areas, such as lighting, texture, movement and interactivity, that traditional media can’t always convey. It’s not just about using a screen as a canvas, but often reinventing what the idea of a ‘canvas’ even means.”

    Tezos began actively engaging with the digital art world in 2021. Artists and collectors on NFT platforms like Hic et Nunc, Objkt, and fx(hash) adopted the blockchain for minting and selling works, quickly making it a hub for digital, generative and experimental art.

    Established around the same time, the Tezos Foundation formalized its support for digital art soon after, launching major initiatives between late 2021 and early 2022. Since then, it has evolved into an artist-first hub within the Web3 ecosystem. Through high-profile partnerships with institutions like MoMA and Art Basel, it is positioning itself as a vital conduit for Web3 creativity.

    Since Artamonovskaja was appointed head of arts at TriliTech in 2024, she has played a central role in ensuring that the Tezos ecosystem maintains an artist-first framework. Priorities like sustainability, affordability and inclusivity are amplified through programming that raises global awareness of digital art while empowering existing talent with meaningful opportunities for growth.

    Visitors view colorful digital artworks on display in a vivid blue gallery space at the Museum of the Moving Image in New YorkVisitors view colorful digital artworks on display in a vivid blue gallery space at the Museum of the Moving Image in New York
    Sabato Visconti, barbie~world~breakdown, 2024. At the Museum of the Moving Image, as part of its partnership with the Tezos Foundation. Photo: Thanassi Karageorgiou. Courtesy of MoMI

    “Marketplaces on Tezos like objkt, along with high-profile partnerships with the Museum of the Moving Image, Serpentine, ArtScience Museum and others, help contextualise digital art within broader cultural landscapes,” Artamonovskaja says. She sees contextualization as fundamental to supporting the appreciation and institutionalization of a newly established field like digital art. “Our current programs also encompass a range of activities, including residencies, publications, and exhibitions, nurturing a creative environment that fosters artists’ career trajectories.” One major upcoming initiative she previewed is Tezos’ second participation at Paris Photo, in partnership with Paris-based Artverse gallery, where curator Grida Jang Hyewon will present a group booth featuring work by six artists who originate from, or are deeply shaped by, Asian cultures.

    Fostering awareness of these tools and technologies is another key priority. “The Tezos Foundation has supported several educational projects, including WAC Lab, which taught professionals from cultural institutions about Blockchain best practices, as well as artist onboarding programs, such as Newtro, a program focusing on Latin American artists,” Artamonovskaja says. “Through these ongoing initiatives and upcoming projects, it’s no surprise that the Tezos ecosystem serves some of the most respected voices in the digital art space, including bitforms gallery, the Second Guess curatorial collective and the University of Applied Arts in Vienna.”

    Just as importantly, Tezos has helped connect and map a decades-long history of relationships between artists and digital media, beginning with early net art and extending back to Nam June Paik’s pioneering inquiry into media and technology as a form of expression. As Artamonovskaja explains, the history of digital art runs from the algorithmic plotter works of Manfred Mohr and Vera Molnár, to Alan Rath’s kinetic sculptures fusing electronics with movement, to Paik’s groundbreaking video art, and to the browser-based experiments of 1990s net artists like Cory Arcangel and Olia Lialina. “Each era redefined what it meant to create and experience art in dialogue with new technologies, shifting from producing singular digital images to building works that exist natively within global networks. I’ve always been fascinated by how forward-thinking some of the artists were. Seeing Nam June Paik’s Electronic Superhighway in person, its glowing map of America alive with moving images, makes you reflect on how foretelling his vision was to today’s hyperconnected, media-saturated world.”

    A gallery window shows the Paintboxed: Tezos World Tour exhibition, with contemporary digital artworks on white walls visible from the street.A gallery window shows the Paintboxed: Tezos World Tour exhibition, with contemporary digital artworks on white walls visible from the street.
    The “Paintboxed Tezos World Tour” exhibition at Digital Art Mile, Basel, 2025. Courtesy Tezos Foundation

    The Paintboxed Tezos World Tour paid tribute to this long history, spotlighting the heritage of the Quantel Paintbox—the legendary 1980s commercial computer designed for artists and famously used by David Hockney and Keith Haring. “The digital art we make today most certainly belongs to a long lineage dating back to the 1950s, with interactive systems, initiatives such as E.A.T. and tools like the Quantel Paintbox,” Artamonovskaja points out.

    In the past year, the Paintboxed Tezos World Tour has appeared at major art events in Miami, Paris and New York, culminating in a pivotal exhibition at the Digital Art Mile in Basel. The Basel presentation was accompanied by a catalogue of works produced by early pioneers such as David Hockney and Kim Mannes-Abbott—among the first to experiment with the tool—alongside a younger generation of artists like Simon Denny, Coldie and Gretchen Andrew. “Recognizing these histories enriches our understanding and positions Web3 art not as a fleeting trend but as a continuation of decades of creative innovation,” Artamonovskaja says.

    She recalls first encountering Olia Lialina’s work in person at her presentation during Rhizome’s 7×7 conference in 2017, an experience that left a lasting impression. “What struck me most was not only her early, both critical and playful approach to the browser as a canvas, but also the nuanced commentary on the word ‘technology,’” she recalls, noting how the artist was vocal in her criticism of how the term had been overused to the point of losing specificity. “This reminded me how in the 1990s, ‘technology’ in an art context often meant something tangible, visible and experimental. In contrast, today it’s so embedded in our lives that we rarely stop to question it, and by doing so, in a way, we lose our power. The work and reflections of early net art artists often underscore the importance of maintaining that spirit of inquiry.”

    Creative freedom and new audiences

    For Artamonovskaja, the digital realm opens vast possibilities: dynamic experimentation, global reach and direct control. Over the past decade, she notes, social media has reshaped the artist’s role—shifting it away from reliance on galleries and institutions toward a more direct relationship with audiences. “Some artists have become their own marketers, community builders and storytellers, shaping not only how their work is seen but also how it’s valued,” she says. “This shift didn’t just change the market side of art; it influenced the medium itself. Many artists, including those working in traditional media, have begun creating works either conceived for the screen or engaging with it from a conceptual or critical perspective, responding to its formats, visual rhythms and narratives, while reflecting on how these elements shape our ways of seeing and experiencing art.”

    The rise of blockchain and NFTs has taken this further by adding new layers of transaction and interactivity. “Within the Tezos ecosystem, for example, sales platforms like objkt.com have nurtured their own curatorial voices and collector bases,” she explains. “At the same time, through our ongoing initiatives like Tezos Foundation-supported open calls, residency programs and partnerships with leaders such as Art Basel and Musée d’Orsay, we’ve created new success structures for artists.” Fully harnessing this potential means embracing both creative and structural possibilities—whether by experimenting with digital-native forms, exploring interactive or generative elements, or engaging with blockchain-native ecosystems to connect with communities and shape how their work is experienced, owned and valued.

    wo silhouetted figures stand before a large projection of shifting, kaleidoscopic digital imagery in blue and green tones at the Museum of the Moving Image.wo silhouetted figures stand before a large projection of shifting, kaleidoscopic digital imagery in blue and green tones at the Museum of the Moving Image.
    Rodell Warner, World Is Turning, 2024. At the Museum of the Moving Image, New York, as part of its partnership with the Tezos Foundation. Photo: Thanassi Karageorgiou. Courtesy of MoMI

    The importance of context in curating digital art

    Context, Artamonovskaja stresses, is just as important for digital art as for any other medium when it comes to establishing value and recognition. Digital art curation—including art on the blockchain—has evolved rapidly over the past several years, she notes. Having worked in the digital art space for nearly a decade, longer than many of her contemporaries, she has witnessed these shifts firsthand. “It may not seem like a significant amount of time in the grand scheme of things, but in the Web3 world, everything is accelerated,” she observes. “The COVID-19 pandemic forced the traditional art world to embrace virtual environments en masse. In blockchain and digitally-native art, these technological advancements that reshape how the audience interacts and experiences the work happen every few months.”

    For this reason, curating digital art already extends far beyond simply displaying work—it is about building trust and transparency with both artists and viewers. “Given the size of the digital art market and its novelty, the curator’s role is often also that of an art dealer helping artists position their work, connecting them with the right collectors and helping them navigate the commercial and technical aspects of selling digital art in a rapidly evolving environment,” she clarifies.

    “In many ways, the Web3 market functions as an accelerated mirror to the traditional art world—compressing the cycles of creation, curation, sales and audience engagement into days or weeks instead of months or years,” she continues, noting that this might not apply to every project but that, over time, it makes the discovery of emerging talent more accessible. “The same dynamics of representation and influence exist, but blockchain-enabled provenance, global marketplaces and always-on communities make the process faster, more transparent and oftentimes more efficient.”

    A woman sits in a light-filled room beside a large framed artwork depicting a flowing, abstract horse-like figure created by artist Jenni Pasanen.A woman sits in a light-filled room beside a large framed artwork depicting a flowing, abstract horse-like figure created by artist Jenni Pasanen.
    Aleksandra Artamonovskaja with a work by Jenni Pasanen. Courtesy Tezos Foundation

    Artamonovskaja acknowledges that whether this acceleration is good or bad for artists and the market is still open to debate, but she sees one undeniable advantage: the ability to engage new audiences.

    Challenges in collecting and preserving digital art

    In May 2022, the Tezos Foundation unveiled its Permanent Art Collection (PAC), curated by Misan Harriman, as its first official high-profile program dedicated to celebrating and elevating digital art created within its ecosystem. This marked the beginning of an ongoing commitment to showcase and acquire works by diverse, emerging artists.

    Artamonovskaja has been collecting digital art and NFTs for years. When asked about her criteria for identifying a significant work worth collecting, she says it often comes down to whether the piece moves her or signals that the artist is bringing a fresh perspective to her areas of interest. “Factors such as strong artistic vision, thoughtful use of technology and meaningful cultural context are also incredibly important,” she explains. “Novelty—both conceptual and visual—plays a significant role.” This is a defining feature on sales platforms like objkt, which frequently highlight advanced interactive pieces ranging from minimalist HTML sketches to fully immersive browser-based games and on-chain data experiments. Other platforms, such as EditArt or InfiniteInk, enable interactive co-creation and dynamic experiences.

    “As someone who collects the art they love, I find that the resonance within the wider ecosystem often plays a big role,” Artamonovskaja says. “Given that the market was born under the premise that there are no more gatekeepers and each artist can represent themselves, an artist’s approach to self-representation can be as important as how a gallery typically represents its artists.” Today, a community of artists exists with varied definitions of success, some prioritizing reach and community growth over traditional markers of recognition. “Perhaps this is where comparing art on the blockchain to traditional markets is a fallacy.”

    Collecting digital art also raises new questions around preservation and conservation, as these works often depend entirely on the technologies through which they are created, circulated, displayed and stored. Preservation begins with recognizing that it’s not just about maintaining the still or moving image as we see it on a platform or as we right-click save it. “If we care about the work’s association with a blockchain, we need to maintain a relationship between the smart contract and the output,” she explains. “We need to care about whether the work has an archival file, a higher resolution exhibition copy, or just the web copy we see in front of us. We also want to safeguard the metadata and the environments in which the work is intended to reside.”

    She notes that ensuring a worthwhile chain of documented provenance for blockchain-registered art requires active collaboration between artists, technologists, archivists and node operators. For a work to remain tied to a chain, archival advocates and conservation specialists may need to preserve not only the piece but also its operational context.

    Across blockchains, one of the most significant risks in recent years has been the shutdown of marketplaces. “In such instances, it was either the core team’s efforts or the community that preserved the works, ensuring they remained accessible as intended,” Artamonovskaja points out, emphasizing that this was possible only thanks to open-source access and the benefits of decentralization.

    On Tezos, for example, every artwork collected on objkt is stored on IPFS, a decentralized network designed for long-term preservation. The team ensures that each asset is pinned and remains accessible, with safeguards in place so that even if the platform were to go offline, the art would remain secure. “Tezos provides a reliable and future-proof foundation for building digital art collections,” Artamonovskaja emphasizes.

    Another advantage of NFTs on Tezos is that its self-amending blockchain and formal on-chain governance make contentious hard forks far less likely than on other chains, reducing the risk of the same NFT appearing on two separate blockchains. “Because protocol upgrades are proposed, voted on and activated within the blockchain itself, NFTs remain recorded on a single chain that all participants continue to use.”

    A darkened gallery room features large-scale immersive digital projections of glowing, abstract worlds with red sculptural seating in the foreground.A darkened gallery room features large-scale immersive digital projections of glowing, abstract worlds with red sculptural seating in the foreground.
    Third World: The Bottom Dimension is a multi-part project conceptualised by artist Gabriel Massan in collaboration with artists Castiel Vitorino Brasileiro and Novíssimo Edgar and vocalist and music producer LYZZA. © Serpentine. Photo: Hugo Glendinning

    Art, technology and A.I.

    When it comes to conversations about technology, the biggest elephant in the room is the A.I. revolution, which is reshaping nearly every aspect of our lives—and, in turn, how artists approach their work and creative process. Increasingly, artists admit to using A.I. not only to refine work but also to brainstorm or seek feedback. This has sparked ongoing debate about the role of A.I. in the creative process—as a tool, an assistant or even a collaborator.

    Asked about the opportunities A.I. presents for the art world and the risks it poses, particularly for digital art, Artamonovskaja is convinced that if it is approached as an instrument, it can help extend an artist’s vision. Its value, she argues, depends on how intentionally it is applied—whether to streamline workflow, unlock new aesthetic possibilities, or enable experiments that would be impossible through traditional means.

    “Artists like Dr. Elgammal have even credited A.I. as their creative partner. Ultimately, art is subjective, so the idea of improving it is hard to define,” Artamonovskaja considers. “For some creators, A.I. is integrated on a deeper technical level—artists like Ivona Tau or Mario Klingemann write their own systems, shaping the algorithm as much as they shape the final product. Other artists, such as Trevor Paglen or Kevin Abosch, engage with A.I. from a critical standpoint, using it to question the technology’s politics, biases and social implications.”

    At the same time, she warns of potential risks: diluting authorship, amplifying biases embedded in training data or reducing the artist’s role to that of a passive editor rather than an active creator. In 2021, she collaborated with Mike Tyka to release his renowned Portraits of Imaginary People on the blockchain, a project that delved directly into these themes. By training GANs on thousands of Flickr images, Tyka generated faces of people who do not exist, exposing how A.I. systems can reproduce and amplify identity biases. “His approach challenged notions of authenticity and sparked dialogue about technology’s influence on representation and trust,” she notes.

    With the arrival of more sophisticated tools in recent years, Artamonovskaja observes that the market is still struggling to understand and value generative artistic practices. “For me, the most compelling A.I. art is not simply about the image produced, but about the relationship between human intention and machine capability, and the conceptual story that emerges from that relationship,” she reflects, emphasizing again that it is not about the medium itself but the critical and creative approach to it—the inquiry into its potential—that transforms a work of art into a tool for better understanding, or even anticipating, the broader sociological, anthropological and political implications of these new technologies in our existence.

    Aleksandra Artamonovskaja On Technology’s Role in Art’s Evolution

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    Elisa Carollo

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  • Kate Middleton Says Sorry, Admits She Photoshopped the Viral Photo of Her and Her Kids

    Kate Middleton Says Sorry, Admits She Photoshopped the Viral Photo of Her and Her Kids

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    Kate Middleton, the Princess of Wales, wants everyone to chill out about the photo of her and her kids, which has caused an international firestorm after being pulled by some of the world’s biggest photo agencies for being “manipulated.” According to Middleton, that is correct. In fact, she Photoshopped it herself.

    Treating GIFs as Fine Art | Gizmodo Interview

    “Like many amateur photographers, I do occasionally experiment with editing,” Middleton said in a post on her and Prince William’s X, formerly Twitter, account on Monday morning. “I wanted to express my apologies for any confusion the family photograph we shared yesterday caused. I hope everyone celebrating had a very happy Mother’s Day. C.”

    Middleton posted the photo, which shows her sitting down and smiling with her children George, Charlotte, and Louis, to social media on Sunday to commemorate the U.K.’s Mother Day holiday. Ironically, the photo appeared to be aimed at quelling the intense speculation around Middleton’s absence from the public eye for nearly two months after a planned abdominal surgery.

    Her rare disappearance set off a swirl of rumors and conspiracy theories, with some stating that it was proof that she and Prince William were having problems in their marriage. Others speculated that she was suffering from a more serious health condition and could be in a coma.

    “Thank you for your kind wishes and continued support over the last two months. Wishing everyone a Happy Mother’s Day,” the Sunday photo caption read, ending with “C” to indicate that it was posted by Middleton. The caption also added that it was taken by Prince William in 2024.

    As of the time of publication of this article, the photo had been viewed more than 68 million times on X. It was also still available on Middleton and Prince William’s X account.

    Middleton’s Mother’s Day Photo Fuels Conspiracies

    However, instead of calming the public’s conspiracy theories, Middleton’s recent photo only fueled them. Online sleuths pointed out that Middleton was not wearing her wedding ring in the photo—Gizmodo also could not see a ring on Middleton’s left hand—and that her face appeared different from a paparazzi photo taken less than a week ago. (It’s not clear that it was Middleton in the photo.)

    The firestorm only intensified when some of the world’s biggest photo agencies pulled the image from their wires and issued a “kill notice,” claiming the photo had been manipulated. The Associated Press and Getty confirmed to Gizmodo that they had pulled the photo, with the AP stating that Princess Charlotte’s hand been edited.

    “The Associated Press initially published the photo, which was issued by Kensington Palace. The AP later retracted the image because at closer inspection, it appears that the source had manipulated the image in a way that did not meet AP’s photo standards,” AP spokesperson Nicole Meir said in an emailed statement. “The photo shows an inconsistency in the alignment of Princess Charlotte’s left hand.”

    Reuters and Agence France-Presse also pulled it, according to The Telegraph. The photo agencies did not immediately return Gizmodo’s request for comment.

    While I didn’t see what was up with Princess Charlotte’s hand at first, after a lot of concentration and zooming, you can clearly see that part of her left arm has been erased. Some users on X also noticed that Middleton’s hair was strangely blurred, which I can also see. They also pointed out that the Princess’ hand holding Prince George was also blurred (ditto, I see that too).

    Gizmodo reached out to media representatives for the royal family on Monday morning but did not immediately hear back.

    TLDR: Middleton Is Probably Just a Mom Who Edited a Pic She Didn’t Like

    With key words like “royals,” “missing princess,” “kill notice,” and “manipulated photo,” it’s no wonder why this incident quickly snowballed into one of the biggest stories of the last few days. I get it. But I also have a lot of friends who are moms, and a lot of friends who are women, that edit their photos all the time—especially when their significant other is the one snapping the pic. If I had to bet, that’s what probably happened here. (Feel free to remind me if I turn out to be wrong so I can eat my computer.)

    In today’s ruthless and fake photo landscape, it’s normal to see “flaws” where there may not be any and want to fix them. Maybe Princess Charlotte had a seam popping out of her sweater, or maybe Middleton had a gray hair that was visible. Technology makes it easier than ever to fix these details or erase them, but it also creates a vicious cycle where people are motivated to keep editing their photos in search of “perfection.”

    Unfortunately, while Middleton is probably just a mom who didn’t like the photo her husband took or simply looked at it for way too long, when you’re one of the main members of the UK royal family, you’re not allowed to do normal things like editing your photos. Middleton has been in the royal family’s orbit for more than two decades, so I have no doubt she knows this. But alas, she’s a human who’s recently had abdominal surgery and is under a lot of public scrutiny. In this situation, anyone can make a mistake, even a person who’s known for being a pro at her job.

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    Jody Serrano

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  • Pioneering Internet Artist Shu Lea Cheang Receives the 2024 LG Guggenheim Award

    Pioneering Internet Artist Shu Lea Cheang Receives the 2024 LG Guggenheim Award

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    Shu Lea Cheang is the second recipient of the award. SMITH © SMITH, Paris, 2024

    Shu Lea Cheang, an early pioneer in the field of digital art, is the second recipient of the LG Guggenheim Award, as announced today (March 5). Selected by an international jury of art, culture and technology experts, she will receive an unrestricted honorarium of $100,000.

    The prize is given by the LG Guggenheim Art and Technology Initiative, a five-year partnership established in 2022 between New York’s Guggenheim Museum and the South Korean company LG that promotes artists working at the intersection of art and technology. “Shu Lea Cheang was one of the first to recognize the liberatory potential of the digital realm,” said Naomi Beckwith, the Guggenheim’s chief curator and deputy director, in a statement. “We celebrate her bold explorations of bodies, and their desires, in our digital and analog worlds, and are thrilled, alongside LG, to recognize her necessary work.”

    SEE ALSO: Artist Barbara Earl Thomas On Creation, Contemplation and Bringing People Together

    Cheang, 69, is a Taiwanese, American and French multi-hyphenate artist whose work has engaged myriad new technologies since the 1990s. She has produced and directed four feature-length films—1994’s Fresh Kill, 2000’s I.K.U., 2017’s Fluidø and 2023’s UKI—and her art is in the collections of institutions like the Whitney, Walker Art Center, Museum of Modern Art and Centre Pompidou.

    Digital figures embrace each other Digital figures embrace each other
    Shu Lea Cheang, UKI, 2023. Digital color video, with sound, 80 min. Courtesy Guggenheim

    Shu Lea Cheang: trailblazer in internet and digital art

    Cheang has long been at the forefront of exploring the impact of technological change on society. Her 1998 piece Brandon, for example, made history as the first-ever web art commissioned by the Guggenheim. The work, which explored the legacy of Brandon Teena, a transgender man who was murdered in 1993, was restored in 2017 by a team of computer-based conservationists at the Guggenheim.

    Decades later, Cheang’s contributions to digital culture remain relevant. In 2019, she represented Taiwan at the Venice Biennale with 3x3x6, a mixed-media installation whose title alludes to industrial imprisonment (the title refers to a 3×3 square-meter cell monitored by six cameras). Focused on surveillance in the digital age, it referenced ten different cases of imprisonment incited by gender, sexual and racial nonconformity.

    Large teacups swirl around in gallery Large teacups swirl around in gallery
    Shu Lea Cheang, Baby Love (from Locker Baby Project), 2005. Networked media installation, dimensions variable. Installation view: Baby Love, Palais de Tokyo, Paris, December 8, 2005– January 8, 2006. Photo : Florian Kleinefenn

    The artist’s oeuvre also includes experimentations with technological themes ranging from alternative currencies to movement sensors. More recent works like 2017’s Mycelium Network Society examined the nature of biotechnologies, while her 2023 installation Utter focused on the societal implications of machine learning.

    In their jury statement, panelists for the LG Guggenheim Award praised Cheang’s “fascinating overview of advanced technologies.” Jury members included Eungie Joo, head of contemporary art the San Francisco Museum of Modern Art; Koyo Kouoh, executive director of the Zeitz Museum of Contemporary Art; Noam Segal, LG Electronics Associate Curator at the Guggenheim; Carolyn Christov-Bakargiev, director of Castello di Rivoli Museo d’Art Contemporanea; and Stephanie Dinkins, the recipient of the inaugural LG Guggenheim Award.

    Cheang is set to discuss her practice and future works in a May 2 public program at the Guggenheim’s theater. “The LG Guggenheim Award revives an honorable tradition of the electronic industry’s support for art and technology,” she said in a statement. “To be recognized by an assembly of diverse jury members grants me tremendous confidence in continuing and expanding my art practice.”

    Pioneering Internet Artist Shu Lea Cheang Receives the 2024 LG Guggenheim Award

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    Alexandra Tremayne-Pengelly

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  • VESA at Cypher Capital

    VESA at Cypher Capital

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    Hi fam,

    Today we’re celebrating a union that took place recently when VESA travelled to Dubai for a month of meetings, partnership calls, keynotes, and conferences.

    A juicy sized catalogue of VESA works moved into the Cypher Capital Hub in October and this time, we want to celebrate this incredible handshake and share the stories behind the artworks you can see on the walls.

    In their own words, Cypher Capital is focused on investing in Web3 infrastructure and applications that will drive the digital economy in the future. The Cypher Capital Hub in Marina is shaping up to be one of the sleekest and most functional spots to work, meet and network.

    The Hub has always been a place for art, most notably two works by Banksy in the main conference room – now featuring a VESA as well.

    Let’s dive into the stories behind the pieces you can see on the walls of the Hub!

    Next time you stop by the Hub, please snap a picture of yourself and your favourite VESA work and tag:

    Cypher Capital Group / Vesa Kivinen // LinkedIn

    Cypher.capital / artbyvesa // Instagram

    Refresh has an honorary place at the VIP room alongside two Banksy pieces.

     

    Integration

    First VESA piece you see on the wall as you walk into the space is Integration. The piece represents the dichotomy of worldviews present in our society in relationships between men and women. On the one hand women occupy positions of power like never before and work incredibly hard to pursue and execute those positions. On the other hand, there is a view that supports tearing down all structures of hierarchy in capitalism and science, as they are seen as an oppressive force, rather than a liberating one.

    Integration was exhibited at Art Dubai 2022 via the Morrow Collective.

     

    Million Dirham Hotel

    Residing in the sleek meeting room, is the Million Dirham Hotel. The work is a part of the larger Mirrors- series, which explores value, experiences, and identity. Million Dirham Hotel evokes images of what a hotel with such a high-ticket price would look like. It is an invitation to a world that challenges the ownership vs access paradigm.

    The Million Dirham Hotel, like all works in the Mirrors- series entices the viewer with its offering of leveraging IP unseen in the traditional art market. Download the Artivive app and experience the AR version, when you stop by.

     

    Truth or Dare- the Currency of Ganesha

    Next to The Million Dirham Hotel is Truth or Dare- The Currency of Ganesh, or Ganesh for short. This work belongs to the pantheon of VESA’s early crypto art, inspired by the thousands of years old Hindu tradition of faith and worldview.

    Lord Ganesh is revered as the remover of obstacles, the patron of arts and sciences and a higher being of intellect and wisdom. In this piece, Lord Ganesh and his entourage have assimilated cryptocurrency symbols and blockchain code alongside traditional wealth displays. Gold, platinum, and diamonds hold a historical place in our minds as keepers of value, but as an example the smart contracts layered on top of Ethereum are building the wealth of today and tomorrow.

    Ganesh is probably THE most complicated work VESA has ever made. It took over 2000 layers of photography of individual paintings and other images before Ganesh started taking shape.

     

    Red Eye

    Red Eye shows the reality of someone falling into the rabbit hole of crypto. The whirlwind seems endless, and the new information pouring into your consciousness sometimes claims your ability to sleep.

    This piece is another one with stunning merits, as it was featured in Forbes in their first ever article on this new movement of art and money in January 2019.

    Red Eye was also exhibited at the opening of the immersive Dubai gallery Art In Space. It launces into its AR version via the Artivive app to showcase motion and sound.

     

    Compound Defiance

    On the way to the VIP room, you can see Compound Defiance on the wall. This work is steeped in legendary moments and is a part of crypto art history. The fluid motion forming a solid symbolizes the decentralized financial system that has no point of central control and therefore free to define its own rules. This freedom has its positives and negatives, but more options mean a more expansive, rather than repressive experience. The jarring pattern blending endlessly might seem chaotic at first, before the beautiful pattern presents its holistic face.

    Compound Defiance was the first artwork used on a street legal NFT VESA Art Car in Dubai and it has a VR version made by Zoan.

     

    Refresh

    Residing in the elegant VIP room, is a piece made in honour of the UAE, called Refresh. It was made in 2020 and it represents the forward-thinking, technologically competent, and culturally mesmerizing country in an artistic way.

    The round planet in the centre of the piece is Mars, referencing the Emirati space program. Galloping alongside is a tokenized royal horse, modelled after a real-life specimen.

    The two people featured are the CEO of the Dubai Blockchain Centre, Dr. Marwan Al Zarouni and his wife, Mariam Al Zarouni. In the artwork, the two are immersed in the Bitcoin genesis code, as they witness the evolution of their country.

    Refresh comes alive with the Artivive app. It has an original soundtrack, and it has been exhibited on large stages in Dubai and Abu Dhabi, as well as extensively in crypto media.

     

    Team VESA wants to thank Cypher Capital for showcasing these works!

    Until next time, 

    VESA & Lotta
    Crypto & NFT Artist
    All links to physical, NFTs, and more below
    http://linktr.ee/ArtByVesa

     

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  • How NFTs Work — and How They Could Prove Profitable for Your Business

    How NFTs Work — and How They Could Prove Profitable for Your Business

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    Opinions expressed by Entrepreneur contributors are their own.

    2022 was an interesting year for NFTs (non-fungible tokens), to say the least. This was the year that saw public knowledge of NFTs go beyond Bitcoin and other cryptocurrencies to the field of digital collectibles, such as art and photographs.

    But while buying art and other collectibles may be getting most of the attention from the general public, they result in some of the more practical (and profitable) business applications getting overlooked. In reality, NFTs can have a variety of practical applications that help organizations achieve their existing business goals.

    First things first: How do NFTs work?

    NFTs are is cryptographic assets that are based on blockchain technology. The non-fungible aspect is important, as it gives NFTs distinctive properties that mean they cannot be replaced or replicated. They are unique, and can’t be manipulated or forged. Most often, we see NFTs in connection with digital assets, such as art, sports cards, games and other collectibles, where the blockchain provides a certificate of authenticity.

    NFTs can be bought and sold on the market, with pricing based on market demand, just like a physical product. However, the unique data that is part of the NFT makes it easy to validate ownership and verify the authenticity of the token.

    NFTs are also used to represent ownership details, memberships and more — and these varied use cases have proven key to business applications.

    Related: Here’s a Beginner’s Guide to Crypto, NFTs, and the Metaverse

    Linking digital tokens to physical benefits

    One key to generating business growth via NFTs is linking the tokens to a physical, real-world product or experience. As the report Brands in Web3 Q3 2022 by NFT Tech highlights, fashion brand Tiffany & Co. was able to turn NFTs into a set of exclusive physical goods. The company partnered with CryptoPunks to create an exclusive line of 250 “NFTiffs” pendants. Priced for 30 ETH (roughly $50,000 at the time), the unique pendants sold out in 22 minutes.

    Another example comes from the Australian Open. In 2022, the Australian Open launched a highly successful metaverse initiative of minting AO Art Ball NFTs that linked to data from live matches. This was paired with virtually hosting the Australian Open in a 3D virtual reality platform to provide an unprecedented level of access to one of tennis’s largest events.

    While the initial launch was successful in and of itself, the Australian Open’s commitment to this NFT initiative is poised to be even greater in 2023, with the announcement that holders of each Art Ball NFT will receive two complimentary seven-day Ground Passes to AO23’s finals week. Art Ball holders also gain access to additional exclusive experiences, such as streams and viewing suites through the “SuperSight” fan experience and access to other United Cup matches.

    With both Tiffany & Co. and the Australian Open, linking NFTs to real-world products or experiences proved to be a highly successful method for deepening relationships with their target audience.

    In addition, when NFTs are used in this way, they invite mass market participation, turning fans into financially-incentivized brand ambassadors who enjoy a high level of utility — and of course, can seamlessly trade their digital assets for real-world cash.

    Related: Putting the Intangible Into Your NFT Project

    Reaching new demographics

    NFTs don’t just help brands strengthen relationships with their existing customers — quite often, they can prove key to reaching a new audience entirely.

    Case in point: For quite some time, clothing brand Polo Ralph Lauren has seen its primary customer base largely concentrated among older adults, while younger demographics like millennials and Gen Z have been less interested in the clothing brand.

    In 2021 and 2022, however, Ralph Lauren made a full-fledged commitment to digital initiatives such as NFTs and the metaverse. These included launching a “phygital” fashion collection in Fortnite, as well as an exclusive digital clothing connection through the game Roblox.

    These digitally-focused efforts were a major success for the brand. As reported by Vogue Business, Polo Ralph Lauren saw its third-quarter revenue increase by 27% after the launch of its Roblox collection — with that growth largely driven by a 58% increase in the acquisition of new digital customers.

    In this case, strategic implementation of digital assets allowed Ralph Lauren to reach a younger target demographic in metaverse-style spaces where they would have the greatest appeal and potential impact.

    When done right, NFT initiatives can help revive sales and reinvigorate a brand’s image, making it more relevant and appealing in today’s competitive market.

    Using NFTs wisely for your business goals

    As these examples illustrate, the potential use cases for NFTs go well beyond selling digital art. With a strategic approach, businesses can use NFTs to find new ways to engage with younger, more tech-oriented demographics. NFT-based projects can help position your company as an innovator at the forefront of disrupting the marketplace.

    That being said, any business investment in NFTs should be done strategically. Major NFT failures in 2022 garnered a lot of media attention, and should serve as a powerful reminder for businesses as they enter this space. All investments in NFT should be done with the interests of the end customer in mind.

    When you focus on how your target audience could realistically benefit from your use of NFTs, you will be able to identify strategies that have true staying power, and that will build greater rapport between your brand and its most tech-savvy customers.

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    Lucas Miller

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  • ‘AI Art’ Companies & DeviantArt Are Being Sued By Artists

    ‘AI Art’ Companies & DeviantArt Are Being Sued By Artists

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    Screenshot: Futurama

    Stability AI and Midjourney—two of the biggest names in the exploding field of AI-generated imagery—and portfolio site DeviantArt have become the target of a class action lawsuit, filed in California on behalf of artists.

    As we’ve covered previously, AI-generated imagery is a highly contentious field, one where “artists write algorithms not to follow a set of rules, but to ‘learn’ a specific aesthetic by analyzing thousands of images. The algorithm then tries to generate new images in adherence to the aesthetics it has learned.”

    The suit has been brought forward by three plaintiffs, all artists: Sarah Andersen (of Sarah’s Scribbles), Kelly McK­er­nan and Karla Ortiz, who on behalf of all artists affected are “seeking compensation for damages caused by Stability AI, DeviantArt, and Midjourney, and an injunction to prevent future harms”.

    It makes numerous and serious allegations:

    The lawsuit alleges direct copyright infringement, vicarious copyright infringement related to forgeries, violations of the Digital Millennium Copyright Act (DMCA), violation of class members’ rights of publicity, breach of contract related to the DeviantArt Terms of Service, and various violations of California’s unfair competition laws.

    As lawyer Matthew Butterick says in his post about the case, the three companies are being targeted by “writ­ers, artists, pro­gram­mers, and other cre­ators” who are “con­cerned about AI sys­tems being trained on vast amounts of copy­righted work with no con­sent, no credit, and no com­pen­sa­tion.”

    Stability AI and Midjourney are the companies behind the two most popular AI-generated art platforms, while DeviantArt—most commonly known as a portfolio and community art site—is being included for its own work in fucking up massively.

    For more technical details on the suit—or contact details if you’re an artist and would like to get involved—you can check out Butterick’s post here.

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    Luke Plunkett

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  • DeviantArt Embraces AI Art, Fucks Up Massively

    DeviantArt Embraces AI Art, Fucks Up Massively

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    DeviantArt

    Image: DeviantArt

    DeviantArt is a website that has survived multiple generations of the internet because it does one thing and does it well: it lets artists upload and share their work. That’s it! So it’s both funny and more than a little tragic to see the site try something new last week, only for it to be the worst thing imaginable, implemented in the dumbest way possible.

    03:51

    Halo Infinite Winter Update’s New Multiplayer Maps

    Wednesday 4:38PM

    That thing was, of course, AI-generated art, something that sounds cool in theory but which in practice has been little else but a chance for tech goons and grifters to steal art, kid themselves into thinking they’re artists and/or deprive working artists of work.

    While popular with the kind of people who will talk to you unsolicited about how now is the best time to buy crypto, actual artists are generally horrified by the practice. So artists, the actual users and entire point of the site, were rightly upset last week when DeviantArt published a blog post that led with “Introducing DreamUp, an image-generation tool powered by your prompts that allows you to visualize most anything you can DreamUp!”

    That blog post, ostensibly an introduction to a service that lets users “create” their own AI art on DeviantArt, has to spend most of its time saying “actually it’s fine this isn’t terrible”, because it knew in advance a huge number of users would take one look at the legal and ethical complications involved and say “this is terrible!”

    But they went and did it anyway. And, after just one day in the open, were forced to make changes to it after artists protested at the ease with which AI art systems could so easily scrape their own works without accreditation or even their active consent. The most egregious example being that every single piece of art on the whole website had been flagged to be made available for AI systems to learn from, and that users were going to have to manually go into their accounts and opt out of every single image.

    G/O Media may get a commission

    Also contentious was the way in which prominent artists had to opt out of having their style stolen (people entering prompts into AI art use a bunch of keywords like “fantasy”, but also artist names to imitate their style), but to do so had to submit a form which would take days to process:

    While the bulk opt-out system was quickly changed (too late for many, since the damage would already have been done!), the entire thing as an idea still sucks (they can’t even guarantee it works!), and deep down DeviantArt know it, because they published an update which is still mostly about addressing user’s concerns which, you know, might suggest there are underlying issues with the whole point of the exercise, not just individual examples of its implementation.

    AI art is from the same grifting, de-humanising wheelhouse as crypto and NFTs, and you can see that at work in DeviantArt’s system, which isn’t here for the casual enjoyment of existing users, but as a way to make money. DreamUp allows for a certain number of free “prompts” before users are locked out…unless they’re paid DeviantArt members. And if you do decide to pay, what are you getting in return, aside from the satisfaction gained from undermining the very community you’re supposedly a part of? DeviantArt was kind enough to provide some examples of llamas:

    Image for article titled DeviantArt Embraces AI Art, Fucks Up Massively

    Image: DeviantArt

    These look like shit. Like something a bot account would have tried to sell me as an NFT in 2021. Throw this all straight in the bin.

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    Luke Plunkett

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  • ELYSIAN, Jan Zakin Team Up to Launch Inaugural NFT Collection Aimed at Women Over 40

    ELYSIAN, Jan Zakin Team Up to Launch Inaugural NFT Collection Aimed at Women Over 40

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    Floyd and Zakin, both in their 60s, buck the trend in the male-dominated NFT space

    Press Release
    –

    Aug 2, 2022


    NAPA, Calif., August 2, 2022 (Newswire.com)
    –
    ELYSIAN, a women-centric media platform, is proud to unveil its first collection of NFTs, designed and minted by a collective of female creators, at the Zakin Family Estate.

    ELYSIAN’s goal is to connect its vibrant community of readers – accomplished, curious, engaged and educated women over 40 who span the globe – with the burgeoning Web3 space, adding diversity to the market while it is still in its infancy.

    The collection, featuring 41 unique NFTs in all, is inspired by Jan Zakin, an OB-GYN and co-owner of the Zakin winery. Zakin is an ELYSIAN Inspiring Woman and is on the cover of the magazine’s Fall 2022 Travel & Technology issue.

    Men under 35 dominate the NFT and cryptocurrency markets. NFTs, or non-fungible tokens, are unique digital assets with a continuous record of ownership.

    “Women have a dynamic and discerning eye when it comes to art – and the determination and endurance it takes to stay ahead of the curve,” said former prosecutor and judge Karen Floyd, ELYSIAN’s founder and publisher. “We shatter the glass ceiling that separates us and offer women the opportunity to become significant participants in the Web3 space.”

    A November 2021 analysis by Art Tactic revealed that women account for only 16 percent of the NFT market, and an abysmal 5 percent of female artists account for all NFT art sales. Of the women who own NFTs, most are under 40.

    Zakin, who is in her 60s and remembers being told as a young girl that women had to be nurses or teachers, has a history of taking bold steps. She continues practicing gynecology at the San Francisco Free Clinic, and she also has served on NASA’s Institutional Review Board. She and her husband Jon released their first wine in 2016.

    “Just as wine becomes better with age, fine art appreciates over time – and I’m proud to be associated with this ELYSIAN collection of digital art,” Zakin said. “When you purchase an ELYSIAN NFT, you are getting more than just a unique digital image – which, in and of itself, is a work of art. You are getting an experience, a memory, a story that adds a unique aspect to the work’s provenance.”

    Individual NFTs in the ELYSIAN collection are $1,000, and pre-sales are underway. Select NFT packages range from $5,000 to $10,000, and an exclusive Reserve Tier NFT will be auctioned this weekend at the Zakin Family Estate in Napa Valley. Bidding for the Reserve Tier NFT – which includes a magnum of Zakin Reserve wine etched with an image inspired by ELYSIAN’s fall cover, a painting, and more – will begin at $25,000.

    Each NFT in this inaugural collection is embellished with a chic circuit board design, bridging the gap between the print and digital worlds.

    “When it comes to NFTs and the crypto space, women are like an endangered species,” said Jackie Dutton, head of marketing and communications for FYB3R. “The only way the younger generation of women is going to succeed in a male-dominated space is with help and inspiration from women like Karen and Jan who have set the example of forging a path under the same obstacles and odds.”

    An ELYSIAN NFT doubles as an all-access pass, and some include a gift of Zakin wine, tickets to upcoming events and other perks.

    For more information, visit readelysian.com/nft.

    Media contact: Jason Spencer
    864-596-7501, jason@thepalladiangroup.com

    Source: ELYSIAN

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  • Wallifyer Fairy Garden Collection Launch on Aug. 5, 2019

    Wallifyer Fairy Garden Collection Launch on Aug. 5, 2019

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    Sandra Tornroth of Wallifyer Announces the Fairy Garden Collection, an Original Selection of Hand-Drawn, Nature-Themed Clipart Files for Creative Art and Design

    Press Release
    –


    updated: Aug 2, 2019


    MARIEHAMN, Finland, August 2, 2019 (Newswire.com)
    –
    Designer Sandra Tornroth of the Finland-based graphic design company Wallifyer is pleased to present her newest collection of digital art, the Fairy Garden Collection. This creatively designed selection of hand-drawn floral and woodland-themed clip art is available exclusively through the artist’s website.

    About the Collection

    The Fairy Garden Collection features the slogan “Wrap Yourself in Fairy Magic,” evoking a magical touch of whimsy and imagination. The exclusive collection of digital art includes JPEG, PNG and PAT files for instant download. The designs can be used as digital clipart, digital papers, and digital stamps for card making and scrapbooking.

    The hand-drawn art in the Fairy Garden Collection is drawn in a vintage fairytale garden style with inspiration from fall gardens, autumn leaves and enchanted forests. Themes from poetry by Edgar Allan Poe are represented in the Halloween sets. The seasonal collection features a dusty pastel color scheme, with softly muted fall colors including brown, beige, mustard yellow, dusty pink and pistachio green.

    About the Company

    Wallifyer, owned by artist Sandra Tornroth, is located in the Aland Islands, Finland, situated in the Baltic Sea between Sweden and the Finnish mainland. The woodsy greenery of the Aland Islands inspires Sandra’s original ink pen drawings of nature-themed clipart which she digitizes for scrapbooking, card making, and papercrafts.

    The Fairy Garden Collection is available exclusively at https://wallifyer.com

    Wallifyer can also be found on the following social media platforms:

    http://facebook.com/wallifyer

    http://instagram.com/wallifyer

    http://pinterest.com/wallifyershop

    Subscribers to the Wallifyer VIP email list at http://eepurl.com/goXnnb will receive a 20% discount code to use in the shop, along with sneak peeks, special sales and exclusive coupons for members only.

    For more information about the Fairy Garden Collection or to interview Wallifyer owner/artist/designer Sandra Tornroth, please email admin@wallifyer.com.

    Media high-resolution photos are available upon request.

    Source: Wallifyer

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  • Wallifyer Signature Collection Launch and Grand Opening on April 30, 2019

    Wallifyer Signature Collection Launch and Grand Opening on April 30, 2019

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    Wallifyer, a Scandinavian Digital Art Company, Proudly Presents the Launch of their Signature Collection and the Grand Opening of their Newly Designed Retail Website for Digital Downloads of Original, Hand-Drawn Floral and Fantasy Themed Clipart for Creative Paper Crafting

    Press Release
    –


    updated: Apr 29, 2019


    MARIEHAMN, Finland, April 29, 2019 (Newswire.com)
    –
    ​Designer Sandra Tornroth of Wallifyer is pleased to announce the release of her Signature Collection of hand-drawn floral and fantasy clip art at the grand opening of her newly designed retail website at https://wallifyer.com on April 30, 2019.

    Wallifyer is the digital art company owned by artist and designer Sandra Törnroth in the Aland Islands, Finland. The Aland Islands are situated in the Baltic Sea between the Finnish mainland and Sweden.

    The beautiful outdoor woodland scenes in the Aland Islands inspired Sandra, a lifelong artist, to create a series of ink pen drawings of fairytale-inspired clipart which she has digitized for crafting, card making and scrapbooking.

    After having worked as a bank clerk for many years, Sandra made a bold decision to pursue her dream to become an art historian and artist. Already married and with two sons, Sandra went back to the university to earn her second degree, a Masters in Art in 2017. She now freelances as an illustrator, art historian and fine artist.

    Inspired by woodsy nature scenes and enchanting fairytale creatures, Sandra draws her signature doodle illustrations with ink pens on paper. She then digitizes her original ink pen drawings to sell as digital download files for creative use by crafters and designers. Her art style is whimsical with a shabby chic twist.

    As a Scandinavian artist, Sandra gives her drawings a minimalist vibe as well, often featuring geometric patterns and swirly lines. Her favorite subjects to draw are fairytale woodland animals, floral wreaths and whimsical creatures.

    Speaking of her personal connection to the art of pen and ink, Sandra states, “For me, drawing is meditative and makes me calm and lets me escape into a magical whimsy world.” She seeks to share her art online to allow her customers to feel the same joy in using her whimsical clipart drawings in their own creative paper crafts.

    As a way to enhance the crafting experience for other creative artists and designers, Sandra’s brand ideal is all about mindfulness and creativity. Her personal desire is to bring the enchanting magic of digital art with a whimsical fairytale touch into her fellow crafters’ lives.

    The Signature Collection features the phrase, “Step into Your Enchanted Garden” and includes JPEG, PNG and PAT files to download as digital supplies for card making and scrapbooking. The art style is whimsical/doodle, and the color scheme for the collection is pastel pinks, blues and greens, along with black and white ink pen drawings.

    Wallifyer – For Creative Hands and Hearts proudly launches its brand new retail website which launches at https://wallifyer.com on April 30, 2019.

    Social media:

    http://facebook.com/wallifyer

    http://instagram.com/wallifyer

    http://pinterest.se/wallifyershop

    For more information about the Signature Collection or to interview artist/designer Sandra Törnroth, owner of Wallifyer, please email admin@wallifyer.com.

    Media high-resolution photos are available upon request.

    Subscribers to the VIP email list at http://eepurl.com/goXnnb will receive a 20 percent discount code to redeem in the Wallifyer online shop at https://wallifyer.com.

    Source: Wallifyer

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