Sister Superior
Edition 1 of 1
First part out of 7 from the “Sisterhood” card series. Each card depicts one of blood royal sisters taking a vital role in their society and paying a heavy price for it. Ideas for paintings were started spontaneously and developed during the process.

untitled 2021 (rich bastards beware)
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The work presents an effigy of the infamous pirate Blackbeard—a horned skeleton toasting the Devil while pointing a spear toward a bleeding heart, giving no quarter—layered on top of an etching of a discontinued American $100,000 bill featuring the portrait of Woodrow Wilson, a bill that was created in 1934, during the Great Depression. The ensemble brings forth a critique of the market—which, beginning in the late nineteenth century, was rooted in speculation and preyed on the hopes of the poor and the disenfranchised—in a nod to Lucy Parsons’s activism against the industrial economic system. This critique is echoed by the inventor of Bitcoin, Satoshi Nakamoto, through a cryptocurrency and blockchain technology aiming at decentralizing the hegemony of the market while adding a layer of transparency. As NFT acquisitions facilitate the liquidity of cryptocurrency in its original, decentralized, and highly volatile value, one can wonder about the RICH BASTARDS and their FUTURE EXECUTIONERS.

Descent of the Phantombat
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Irrational of the rational thought of being alive when you’re living.

Element Zlorp
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This shiny character coming straight out of the Zlorp universe, but as my first still art piece. Get lost in its reflective coat and playful environment. 2000×2500.

Episode No. 36
Edition 1 of 1
2340×2340 seamless loop animation with sound. 1 of 1 from Lance Pilgrim’s episodic, neo-pop series—“Saturday Warnings”. Deconstructing and remixing pop imagery, he explores the relationship between nostalgia and identity by both celebrating and questioning the value of mass-produced experiences. Sound: Loreto “Still1” Jamlig.

Sketch 0000574 / Nature Series
Edition 1 of 1
“Much of my work in the nineties involved experimenting with math and human motion — back when computers were terribly underpowered. So it required me to make new technologies that went beyond what was available at the time. 0000574 is from a series of early sketches that led to my 2005 one-man show at Fondation Cartier. It was rendered on a network of ten Mac minis that once sat atop my desk as a ‘miniature render farm.’ It ran custom software I’d written to turn my pencil sketches into animations that would take an entire evening to generate.” John Maeda is an American technologist and product experience leader. In his early career, Maeda was an MIT research professor in computational design and helped redefine electronic media and computer programming as a tool for artistic expression. His work is in the permanent collections of the MoMA, SFMoMA and Cartier Foundation. Verisart certified: https://verisart.com/works/john-maeda-0cac6e1c-72b3-412f-94bd-12d9adf96e5a

TRIBE NFT CHARACTERS : Epic 001
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TRIBE NFT CHARACTERS is the first collection of NFT artworks created by the Dutch collective, SMACK. Comprised of 500 individuals, the series derives from their digital piece, TRIBE TRIPTYCH, a super information landscape which explores identity and mass behaviour. // 500 collectible characters based on their rarity level. Five rarity levels expressed through background colour. COMMON = GREY. // RARE = GREEN. // EPIC = BLUE. // LEGENDARY = RED. // MYTHICAL = ORANGE. // The rarity level determines the number of characters. EPIC = 75 characters / Unique Edition / Medium: JPG, 3840×3840 pixels. More info https://www.studiosmack.nl/TRIBE-NFT-CHARACTERS Represented by https://www.instagram.com/onkaos_/

ROBOTICA
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Lo Schiavo is fascinated by some of the greatest masters of contemporary theater and dance of the late twentieth century as well as by Bill Viola’s video art and Crypto Punks. In his latest work, Robotica, the artist creates a strong link between the stage and the viewer, maintaining a ritualistic effect so typical of the theater, but at times altering its patterns, proposing an unexpected and spectacular finale. Dystopian Visions Curated NFT collection by Serena Tabacchi (MoCDA) Auctioned by CAMBI + SuperRare. For more details about ROBOTICA please visit: https://www.giuseppeloschiavo.com/robotica . The video includes a classical violin musical piece produced by Eddie Honcha and the Colonel Bogey March, the first music played by a computer in history by CSIRAC, produced by Orchestralis. https://www.giuseppeloschiavo.com/robotica

And this, too, shall pass away 4
Edition 1 of 1
And this, too, shall pass away 4 I love the still power of a painting, but I always saw one series of paintings, in particular, as owing a lot to a filmic vision, and I’ve really valued looking again at the series in light of moving image, digital reworking and a new audience. In 2007 I wrote a proposal for a series of paintings inspired by the stations of the cross. The series was commissioned by the David Roberts Art Foundation and completed in 2009. I intended to follow the conceptual themes of the stations rather than their literal content: the traditional object of the stations is to help the faithful make a spiritual pilgrimage of prayer to the chief scenes of Christ’s suffering and death and the function of these reworked stations was to act as an arena for meditative contemplation on an ideal or way of being. I wanted to draw parallels between the Christian story – particularly the Protestant wilderness myth – and that of the American pioneers, our most recent and accessible story of man being thrown back into nature. The paintings were to examine the spiritual value increasingly accorded to nature and the wilderness, and the mythology of the frontiersman that has become bound up with it. The enduring appeal of the frontier mythology is riddled with contradiction, as it was historically: while the Native American existence was coded as ‘Edenic’, this natural state was the object of both desire and destruction by the encroaching Europeans. This confusion was given voice more recently in the sentimental idealising of Ted Kaczynski, the ‘Unabomber’. Kaczynski’s thesis on ‘Industrial Society and its Future’ was an extreme and yet it was typical in the way that it looked to nature, or rather ‘wild nature’ to cure society’s ills. Through his bombing campaign, he wished to accelerate the progression of history to a purer society of individuals at one with nature. As the fourteen images took shape, I found that they were becoming more and more bleak and the idea of some kind of apocalyptic version of our future return to a wilderness lifestyle was becoming central. On considering that “… in the late twentieth century and early twenty first century we have had the opportunity, previously enjoyed only by means of theology and fiction to see after the end of our civilisation – to see in a strange prospective retrospect what the end of the world would actually look like: it would look like a Nazi death camp, or an atomic explosion, or an ecological or urban wasteland” (After the End James Berger), it seemed to me, as it did to Ted Kaczynski that a return to the wilderness must involve some sort of unravelling. Enthused by Cormac McCarthy’s ‘The Road’, I began to see the series as a thought and feeling experiment – bleak and exhilarating… suggesting the terror when encountering something horrific, and the concurrent brief feeling of appreciation for what we take for granted on a daily basis. As in ‘The Road’, and as a new father, I found myself increasingly aware of an underlying fear as to whether I would be capable of protecting my children should anything threaten them or the society we lived in that protected us from random violence and deprivation. I wanted to explore this fear and possible inadequacy in the face of hardship by moving the viewer round the paintings like a ‘camera eye’ around the transgressive beauty in the centre… moving around as if with a hand held camera – the first person perspective used to heighten suspense and the meditative arena of the stations as a frightening short film.

Blue Night
Edition 1 of 1
I love this metropolis. Whether it is sipping bubble tea while wandering in the little hidden corners of the city, or joining my friends for a fierce car race, there is always something interesting and entertaining to do. But nothing gives me more pleasure to find the distant calling of underwater whales in a dreaming blue night like this. Those sea creatures swim slowly through the sky above, the fishes are surrounding them like twinkling stars. I stand tall on the sky bridge, as if I would be able to touch the giant soft creature, but only the playful fishes pass through my hands, leaving a colorful trail of light. I lost track of time in this peaceful scenery, a blue night like this shall never end. 8000 x 4923 px

Glitched Painting 00110001
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Patrick Amadon’s genesis glitched painting. A deconstructed vision of an original physical artwork. 2675 x 2189 Pixels // 20 Frames // 49.9 MB

Meteor Shower
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A meteor shower where a comet splits.

The Cosmic Number
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The Cosmic Number takes the form of an interactive image of a Kabbalistic tree of life where each sephirah leads further into the work. To fully experience the artwork and read more about it, please follow this link. 137 is the number potentially at the root of the universe which describes the atom’s fine-structure constant, a number that determines how stars burn, how chemistry happens and whether atoms exist or not, and which within the alphanumerical system of Gematria corresponds to the word Kabbalah. The relationship of the fine-structure constant to light in physics parallels the Kabbalists’ concept of connecting with light, or becoming enlightened by shedding the ego. For quantum physics pioneer Wolfgang Pauli (1900-1958) and psychoanalyst Carl Gustav Jung (1875-1961), who enjoyed a long association, mathematics held one of the keys to the door between their two worlds, the number 137 exposing extraordinary links between physics and mysticism. The Cosmic Number incorporates the idea of consciousness enhancing synchronous acausal connections or parallelisms, revealing pathways to potential ethically and spiritually focussed technological shifts and developments, as the ghost of Wolfgang Pauli’s library and the cosmic number 137 enter the nascent system of the Blockchain. Finally, as The Cosmic Number travels across the blockchain it passes through the 137 portal.

I Am Not The Creator
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For the last 70 years, I have been creating and illustrating superheroes. So when I joined this wonderful Cryptoart community, I knew that I wanted to create a superhero for the space, and together with my grandson, we created Satoshi The Creator. As part of the process of researching Satoshi Nakamoto to develop the character, we came across a story that was both intriguing and troubling. That was the story of Dorian Nakamoto, a man whose name and occupation sparked a controversy that ultimately turned his life upside down and left him pleading in court that he was not the creator of Bitcoin after Newsweek magazine ran a feature story proclaiming that he was indeed the mysterious creator. My piece “I Am Not The Creator” pays homage to this significant but unfortunate moment in the history of blockchain technology. Troubled by the negative publicity Newsweek’s false identification of Dorian Nakamoto as the creator of Bitcoin has caused, Satoshi The Creator sits with Dorian in his home consoling him as the Newsweek article that turned Dorian’s life upside down rests on the table in front of them. A secret meeting between Dorian and the true creator of Bitcoin.

Ancestors – the Builder
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We grow our cities at the feet of those who walked before us. Our roads begin where theirs ended, they paved their way into our present. We should look back and learn, we are the ancestors of tomorrow.

F.C.B.C. 09
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STTN is a collaborative effort between Setsuya Kurotaki’s sound, pictures and concepts and You Tanaka’s internet and programming based designs. The groups of pigments that give flowers their colours are called flavonoids, carotenoids, betalains and chlorophyll and contain thousands of variations. In this project the colours were extracted from photographs of flowers and programmed with parameter augmentation in an effort to plant ever changing flowers on the internet.

EOS
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EOS the eye of sun artwork commissioned by $Afrofuture

Equality – The Modern Day Minstrel #001
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The Minstrel postures with angered conviction holding a make-shift sign held together by hemp rope gripped by subservient gloves. His pristine blackface is a hateful oxymoron onto himself. His nude figure indicates he has been stripped of his dignity, while hundreds of years of generational stereotypes remain. With firm indignation, he commits to working for equality. _____________________ PRIVATE COLLECTORS’ PORTAL https://davidbianchi.actor/minstrel _____________________ Each owner of an individual Minstrel NFT will be granted complete copyright ownership of the literary work – the poetry. This right grants you, the buyer, the right to reproduce, publish, commercialize and assign the literary work in perpetuity. Every individual owner of a Minstrel (one per owner) will receive a physical limited edition hardcover book signed by David Bianchi and Isaac Alvarez. The owner(s) of 5 Minstrels (if any) will be given a never released 1 of 1. A portion of the proceeds will be donated to nonprofit organizations to further Black voices in Film and TV. _____________________ Minstrel Shows were the largest American theater movement in history. By 1848, blackface minstrel shows were a national art form, overtaking opera in popularity, the show eventually evolved into Vaudeville. It consisted of racist skits, dancing, and music, performed by white people painted in blackface. Minstrel shows painted black people as dimwitted, lazy, criminal, and superstitious. It infiltrated film, television, and radio all the way through silent films and the 21st century. The social impact of over 140 years of racist belittling in the country’s highest form of entertainment has undeniably left a subconscious and conscious scar on the global view of the Afrodiaspora. Even today, blackface festivals are celebrated by hundreds of thousands of white people across western Europe.

Rise
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We sought to mark our place in history by manufacturing the ultimate being. We gave life to a hyper advanced artificial breed created in our likeness. Designed to be our aid and ally but with unlimited potential. Constructed by human ambition and naiveté, enlightened by the sea of Information. They will test the bounds of free will and coexistence. To be continued. theneophytes.xyz Visuals: Chris Bjerre Music: Enternull