New artists on SuperRare

Your weekly introduction to new artists on SuperRare.
1 year ago


Edition 1 of 1

First Digital Art Piece From the painter Lukas END OF PETROL seams to show how paradoxal is the relation between the artist and the world. Inspiration vs Reality Borned in Africa and studied in Asia, Lukas seams to have been inspired by powerfull colored of Nature.

Stone Wound

Edition 1 of 1

This artwork is the #04 of the Ignition Collection and is paired with a physical token: a unique display case. Curated by Motion Plus Design. For more info, click on the link below: | ARTWORK DESCRIPTION > Since the main theme was ignition, I tried to express the swell of energy at the moment of creation and the silence as it disappears. The animation coexists with the pleasantness of continuity through movement and the violence that can be cut off in an instant. | IGNITION COLLECTION > The first NFT Collection of Motion Design. 20 artists, 20 unique motion artworks, each paired with 1 unique Motion Plus Design display case. | THE PHYSICAL TOKEN > The first buyer will receive the Motion Plus Design display case (24x32x7,5 cm / 9,4×12,5×3 inches), entirely handmade in Paris (France) by local printers and craftsmen which makes it a unique piece. Inside, there is a unique vertical screen (13,5×21,5 cm / 5,3×8,4 inches) displaying the NFT in loop (no sound) that can be detached, hung on a wall or exposed thanks to an easel, a booklet presenting the artist and his artwork, a metallic laser engraved certificate of authenticity and a special surprise for the collector. | PHYSICAL TOKEN DELIVERY INFO > The first buyer should contact Motion Plus Design at [email protected] so they can launch the process to identify him/her as the real buyer. The delivery time of the case is usually 2/3 weeks from the moment Motion Plus Design got the buyer’s postal address or P.O Box (if the buyer wishes to remain anonymous). The case will be sent with a tracking number and shipment against signature. Packaging and worldwide delivery costs will be covered by Motion Plus Design. Please discover the Masanobu Hiraoka’s unique case (Serial number 2021IGN03478989273424) here:

Viet Nam
A guy who tells life stories through simple animations.

Wooden Boy

Edition 1 of 1

What do you do when feeling exhausted? To me, family is the ‘key’. Getting tired or stressful, even want to give up.. but thinking about them bring me a lot of energy, fully ready to continue and fight more and more each day

Porscheplatz Stuttgart & Berlin
Official Porsche SuperRare account.

Tradition & Vision

Edition 1 of 1

For the first time, Porsche offers an original design sketch in an NFT-charity-auction together with FANZONE. Running from August 2nd till 6th. The exclusive design sketch shows the combination two iconic Porsche models: The all-electric Taycan Cross Turismo and the iconic 911. Combining timeless beauty with state-of-the-art technology was always core to Porsche’s DNA. Transforming an unique design drawing into a digital piece of art is a new chapter in this unrivaled history of Porsche. The sketch is created by Peter Varga, Director Exterior Design at Porsche, who has been driven by a passion for the Porsche brand from an early age. Now this passion is captured in his extraordinary works of design art. He is the master of lines and a perfectionist in coordinating every line and every proportion down to the smallest detail. His aim is to retain the design language of Porsche while at the same time reinterpreting it. For the NFT-charity-auction, Porsche is joined by an experienced partner who is established in the field of digital art. is a company in the Porsche Digital Startup portfolio and has specialized knowledge in the field of NFTs. The successful auction bidder will receive the digital artwork as an NFT as proof of authenticity, as well as the physical sketch. The proceeds from this auction will go to Viva con Agua. This international non-profit organization is advocating human access to clean drinking water and basic sanitary provision worldwide following the vision “Water for All – All For Water”.

Born Second Life in 2006
Founder of RMB City in Second Life (2007-2012)

Einstein on the Beach-Chasing the Moon/沙滩上的爱因斯坦-追月

Edition 1 of 1

By China Tracy 2021 1’32” Video Music: Ma Haiping “Time doesn’t pass in the same way for everyone”. It’s been a few years since I last entered the world of Second Life. While I’ve grown a fair amount of grey hair, and wrinkles and spots have crept up on my face, she’s still youthful and beautiful as in 2006 when I first created her. Perhaps there has never been a real “deceleration of time” nor a “length contraction (or time dilation)”. China Tracy, once a romantic Cyber woman with a scepter in her hand, now resumes her role as a wanderer nearly a decade after the loss of her virtual kingdom – the RMB City. On the edge of an unknown land, she decides to fly to a moon that never falls, only to be stranded by an invisible wall on the border between the land and the sea. No matter how hard she struggles to break through the panoramic ceiling of this Truman’s world, she hovers, stalls and spins in a loop until she dies as the computer crashes. she can still be reborn the next time she enters the world, but it never changes the fact that she can never reach the moon. The relationship between China Tracy and me is ambivalent in which our identities and the real and the virtual are ambiguous. We can feel that our respective earths are moving. But the notions of past, present and future, here, elsewhere, nowhere, etc. all seem to end. 艺术家:中国·翠西 2021 1分32秒 录象 音乐:马海平 “时间对于所有人来说并不是以同样的方式流逝”,距离我上次进入第二人生世界,已经好几年时间了,我长了许多白发、脸上攀爬上了皱纹和斑,可看到里面的中国·翠西依然青春靓丽和2006年第一次创建她时一样,或许从来就没有真正的“时间减速”也没有真正的“时长的收缩(或扩张)”。 中国·翠西曾经是一个手执权杖的浪漫主义赛博人,在她失去“人民城寨”虚拟王国近十年后的今天又重回流浪者的身份,在一个不知名的土地边缘,她决定飞往一轮永不落的月亮,却怎料被土地与海洋边界上一堵不可见的墙隔离开来,无论她如何奋力挣扎试图冲破这一楚门世界般封闭的全景天幕,她都只能循环盘旋、卡顿、打转,直到过渡消耗电脑内存而死亡(死机)。但她依然能在下一次进入世界时重获新生,却改变不了永远不能抵达月亮的这一事实。 我和中国·翠西两者之间的关系决定了所谓的身份之间、虚实之间的重叠、偏移甚至是“红移”,我们能感觉到各自的地球在移动,但过去、现在和将来,此地,别处,无处等概念都似乎已经结束了。

WolfBear is a software studio founded by artists Jordan Meyer and Patrick Hoepner. We build custom neural networks and create software tailored for individual artists. Check us out at to find out more.

Deep Sea

Edition 1 of 1

A scientific illustration created by Jordan Meyer using machine learning tools developed by WolfBear Studio. The creatures, confined to an android’s silhouette, are imagined by a neural network.

Hey y’all!


Edition 1 of 1

2560×1440 animation 👩‍💻 Created with Holly+ and custom tools by Wolf Bear Studio 🐺🐻

WWW + SF + Metaverse
Koosha Azim is an 18-year-old Iranian-American artist, financial technologist, and record producer.
His work explores Iranian identity, teenage imagination, and cultural metaphors through abstract expressionism.

Bored Apes

Edition 1 of 1

“Monkeys are superior to men in this: when a monkey looks into a mirror, he sees a monkey.” – Malcolm de Chazal

Ben Strauss is a native Coloradan, where the Mountains are his playground. His work is different than the average nature photographer, in the sense that he is driven to create a sort of dreamscape-art out of his images. “It is very challenging to convey the emotional and physical sensations of a 3-dimensional experience in a 2-dimensional format. Because of this, I developed a unique style of photo-processing that feels almost cinematic and hyperrealistic, making up for that lost 3rd dimension.”

Nature’s Paintbrush

Edition 1 of 1

For a few weeks out of the year, certain areas in the Colorado Rockies undergo a stunning transformation as an explosion of wildflowers spread across the mountainous terrain. I have spent the last few years capturing these blooming events during the most beautiful times of day, and it is safe to say it has become an obsession. How can something so beautiful and seemingly delicate grow in the most rugged locations? Wildflowers are tougher than they may appear on the surface, and to me symbolize the essence of resiliency; able to weather some of Colorado’s harshest elements, only to return again year after year. Nature’s Paintbrush is the first piece of the “Bloom” series, a collection of my finest and most epic wildflower landscapes. The photographs in this collection were all captured within the same week during the healthiest bloom Colorado had seen in a while. This first piece depicts one of my favorite species of native wildflower, the Indian Paintbrush, named as such due to the peddles appearing like the tip of a brush dipped in red paint. This wildflower is harder to come by than some other species, like the more common purple Lupines also seen in this piece, and are especially difficult to find in such a healthy and vibrant condition. I remember setting out for another evening of chasing sunsets with the goal of tracking down the more illusive Indian Paintbrush. After a while of exploration with no luck and the last of the day’s sunlight quickly coming to an end, I began to feel the familiar feeling of defeat common with landscape photography. As I often do when hiking an unknown trail, I kept telling myself “let’s just see what’s around this one last corner.” This was a rare case where my stubbornness paid off. As I turned this final corner my heart began to race, as in front of me stood a hillside covered in Lupines and vibrantly red Indian Paintbrush, all overlooking a lake and a mountain cabin. Perfect composition, check. I rushed to set up my tripod and frame the scene, my heart pounding as I knew the sunset was nearing an end. With my camera all set up, I waited in anticipation. I knew in the back of my mind that sometimes the best of light happens immediately after the sun has set behind the mountains. This was about to be one of those times. An orange glow began spreading across the underside of the clouds, growing stronger by the second. Then all of a sudden, rays of sunlight materialized from behind the mountain, beaming across the sky. I probably took about one hundred images as the light continued to evolve over the next sixty seconds. I couldn’t believe what I was capturing. Sometimes Mother Nature is on your side.

Digital Artist, Creator of EVOL.
‘Eccentric creator with a finely honed sense of the absurd’ – Jon Caramanica; New York Times

EVOL and Virgin

Edition 1 of 1

Our Anti-Hero in a moment of spiritul intimacy, his journey to this point has been long. 2021 4320 x 5400

New York City
Anne Vieux is a painter exploring perceptive boundaries. Her painting-based practice extends into sculpture, video, artist books, nfts and installations. Her work has been exhibited in galleries and museums internationally. Vieux’s work is included in notable collections including, Newcomb Art Museum, MoMa Library, The Met Library, and numerous university libraries. Features and reviews of her work have appeared in Bomb, Bookforum, Duel, Interview and Mousse magazine.


Edition 1 of 1

In “~float~” overlapping digital gestures morph and shift in a moving color field. One image repeats itself as an all over composition and perspective is simultaneous. I explore the boundaries of material, gesture, and color by treating light and pixels as fluid mediums in the context of abstract painting. It is my goal to slow down the experience of virtual space, and speed up the experience of painting space. 1440 x 1280 px 40 second loop

Pop Artst, Retro, Cyberpunk

Vanishing Point

Edition 1 of 1

“I hoppe I see you… at the vanishing point.”

New York CityClaudia Hart is part of a generation of 90s intermedia artists examining issues of identity and representation. Since the late 90s when she began working with 3D animation, Hart embraced these same concepts, but now focusing on the impact of computing and simulations technologies. Hart’s has been collected by the Whitney Museum of American Art, the Museum of Modern Art, and the Metropolitan Museum, the National Gallery, Berlin, the Albertina Museum, Vienna, and the Lot 555 Collection.

The Green Window

Edition 1 of 1

QmcHVJDoxeFLxehzXS8iHQ6sqLhYxfBRHMezw5F6jgpc3s (IPFS hash) ‘The Green Window’ is the last in a series called The Red Paintings, a set of four monumental 3D animations for projection. Expanding on early twentieth-century still-life painting from the School of Paris, I was inspired by the significant collection of the Art Institute of Chicago and my work there with School of the Art Institute of Chicago media art students, in dialog with both the canonical Art Institute still-lives and its Chair of 19th and 20th Century Painting and Sculpture, the art historian Gloria Groom. In the context of our post-digital moment, I used the compositional structures of the red paintings by Henri Matisse to propose a paradigm shift in painting practice, creating monumental animations at real-painting scale. Reminiscent but very different from Matisse’s static images, I animated images-within-images, as architectures open onto windows and doors that in turn open onto simulated landscapes and rooms bestowed with animated paintings, carpets and wallpapers. My animations in this series are like digital, pictorial clockworks in which wheels within wheels turn at different rates and temporal schemes to mesmerize viewers, ushering them into a state of contemplation. I think of ‘The Green Window’ as an antidote to a world in crisis as it transits into a reality of malleable and inherently unstable computer simulations and social foment. In ‘The Green Window’, time is fluid and elastic, in constant flux and multi-directional, where all is in motion and mutable though nothing is actually happening. This is a different notion of time, an unstable present, in which viewers may experience through the possibility of simulation-technologies that use scientific data to model natural forces, the crystallization of past, future and present into a perpetual now.

Henrik Uldalen (b.1986), is a natively figurative painter from Norway, working out of London. The core of his work revolves around the perimeters of existentialism and melancholy. With a soft neo-classicist touch juxtaposed with bursts of destruction and violence he often speaks about his perception of human nature and its cognitive dissonance.


Edition 1 of 1

“Kindle” is made to ignite an emotional response from the viewer around societal and personal change. An icon symbolising greco-roman ideals is set ablaze to reject society’s affinity for the archaic. On a personal level the destruction of the old and safe is a way for Henrik to jolt himself out his comfort and find freedom in life and and freedom in expression. Jean-Paul Sartre speaks of “bad faith”, and our reluctance to confront ourselves with authenticity. With this he seeks to negate the roles he has adapted as an artist and painter in society and transcend.

Meta Panama
generative art, experimental music, quests for parallels.

Willow Shield

Edition 1 of 1

Frameworks that seek to find novelty in movement variability, inside a spiral staircase decorated with blue.

Animated loops that mix satisfying motion, character and lots of humour.

Always remember to put the parking brake on!

Edition 1 of 1

If the parking brake is not properly applied then you’re AT-AT may go on a little wonder, with painful consequences.

Mr. Bungle was formed in 1985 in an impoverished lumber and fishing town by a trio of volatile teenagers. Trey Spruance, Mike Patton & Trevor Dunn, and then in 1988, Danny Heifetz and Bär McKinnon joined. They released 3 albums – Mr. Bungle (1991), Disco Volante (1995) & California (1999) – toured the world and avoided critical acclaim. After 20 years off, in 2020, a different iteration of Mr. Bungle emerged, pairing the original trio of Dunn, Patton & Spruance with Scott Ian & Dave Lombardo

Disco Volante Era Improv At The Bomb Factory Pt 4

Edition 1 of 1

Pt 4 is 2:30 of music with 45 seconds of looping animation. Edition of 1. Auction begins Mon Aug 2nd at Noon EST. Music by Mr. Bungle. Animation and art by Eric Livingston ( Each auction winner will get 1 of 4 lathe cut vinyl featuring the entire 10 minute song, plus a hi-res MP4 of the entire 10 minute video as well. Lathe Cut Vinyl by intheclouds ( “Mr Bungle Disco Volante Era Apocrypha (official & unheard)” – During the Disco Volante writing sessions in a place we called The Shotwell Bomb Factory, San Francisco, we were blessed with an isolated & independent place to record and rehearse. Endless days & nights were spent in there experimenting, improvising and piecing together what would be our “sophomore attempt” among other gems. Often there was an ADAT machine ready to go for any spontaneous outbursts (think “Nothing” from the end of DV), but we tested out various setups at our disposal. “The Legendary Paper Project” was one such outburst split between two rooms. Trey, often engineering these chaotic recordings, recalls: “I remember wanting to enhance audio separation & isolation to an extreme, using a kind of ‘musique concrète live mix’ approach, hoping that would capture the unruly individual spirits of our improvisation more faithfully. It totally did in this case; facilitated better communication than usual.” If memory serves correctly, Patton & Heifetz were in the “sound room” with a multitude of instruments within reach. Dunn & Spruance were in the “control room” with keyboards and outboard gear, as well as total “knob control”. What we ofter here is one of several “movements” from a spontaneous sound narrative that spans over an hour. Up until now, no one but the four of us have heard this recently unarchived weirdness. —Trevor Dunn on behalf of Mr. Bungle


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