Generative Art, Algorithmic Illustration and Design.
Abu Dhabi
- Tweets 18,125
- Following 1,696
- Followers 15,539
- Likes 50,332
Pinned Tweet
Hello! I'm Kwame Bruce Busia, but many know me better as just Bruce or Studio Yorktown.
My artistic journey has taken me from architecture, to photography, graphic design, and even creating tools for fellow digital artists. Today, I'm deeply immersed in the world of generative art, exploring the creation of art via the use of computer code.
I explore various art forms and mediums and while I don't have one particular aesthetic style, my creations are guided by two things: attention to detail and a love for simple concepts that can both delight and surprise.
I'm enthusiastic about web3 and the future of NFTs and believe in their ability to open up innovative ways to connect with others and distribute art.
I release my works across multiple chains like Tezos, Ethereum and Solana, creating ‘Sabler’, ‘Tesseract’ and ‘Perpendicular Inhabitation’, as well as had my work displayed internationally including at Art Basel Miami Beach and the NEAL Digital Gallery in China.
For a glimpse into my past, present, and future projects, feel free to follow the link in my profile 🙏🏾
🔴⚪️⚫️
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I'm Kwame Bruce Busia, a multidisciplinary artist from London, better known as Studio Yorktown. I went from architecture, through photography and graphic design, to making templates and effects for digital artists, which led me here now to making different types of art and NFTs
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Special edition 'Tesseract Marunouchi' for #tezosjaponica - Will give release details a bit later! 🔴⚪️
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'Perpendicular Inhabitation'
January 25th, 2023 (25.01.23)
16:00 UTC / 17:00 CET / 08:00 PST / 11:00 EST
Dutch Auction with 5 minute intervals:
512 · 384 · 256 · 192 · 128 · 96 · 64 tez
512 Editions
Link to collection ( preview enabled ! )
fxhash.xyz/generative/24169
Enjoy! 🏙️
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'Crosswalk Monsoon'
for #fxhashturnsone
📅 17th November 2022 (17.11.22)
🕖 19:00 UTC / 20:00 CEST / 14:00 EDT
⚫️ 365 Editions
🔴 1 Tez
🟤 10 Palettes
⚪️ 50% of primary proceeds will be donated to the Processing Foundation
🔗 Link to follow below after minting!
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WIP 26.01.23
'Transverse Inhabitations'
Many collections to complete before this, so it will be a while...!
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WIP 6.11.22
A little accident calculating my floor plates with translate functions inside a 'for loop', but I thought the result was pretty cool anyway... p5.js, with texture added in PS.
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'Perpendicular' is the first project I’ve produced primarily for printing. I've just picked up the prints from my printers, (Hahnemule rag paper) the colors really pop and the prints are absolutely perfect. Really happy right now.
People, please print your ‘Perps’!! 😂🖼️
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As you might know, I have been releasing a free edition for every thousand followers here on Twitter. Well, it's hard to believe but we're almost at 3,000! As a thank you, I have created 'Tesse-Lebras-ion', 0 tez, 1024 eds to be burnt after 48 hours🔥🙏🏾. Link in next tweet!
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Sometimes I’m asked how to get started in coding and generative art and I often send the same links you’re probably familiar with. I just found an amazing resource of courses by @timrodenbroeker that I’m excited to try, so wanted to share. There’s even a Bauhaus Coding Workshop!!
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6,000 Followers! Thank You All! 🙏🏾 As always, I appreciate your support immensely and look forward to sharing everything currently in progress and more yet to come!
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'Tesseract Poklon'
A special edition Tesseract featuring an unused 'CYMKrazy' palette that was not included in the final version of the original collection, airdropped to Tesseract collection holders.
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Also, I will go through and write a proper making of / behind the scenes article about 'Perpendicular Inhabitation' but for now, here are some pages from my sketchbook! ✏️📖
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WIP 22.04.22
Reached the point in the concept design where you decide if you've hit the target, gone too far or where to remove elements which aren't necessary. On the other side of that complexity hopefully should be something that looks like more like simplicity.
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'Tesseract'
17:00 UTC / 19:00 CEST / 13:00 EDT / 10:00 PDT
May 18th, 2022 (18.05.2022) on @fx_hash_
Dutch Auction (5 minute intervals)
64 · 56 · 48 · 40 · 32 · 24 · 16 · 8 tez
1 mint slot for each held 'Sabler', (snapshot already taken) released after 48 hrs.
Link Below 👇
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Pleased to reveal the latest Artist x Tesseract:
Tesseract x Platformmmm
@platformmmm 's well-loved abstract geometric and palette explorations were the perfect fit for the most technical Tesseract yet! 📐🤝
Fri 26/08/22 16:00 UTC
64 Editions
32 tez
versum.xyz/token/versum/2886…
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Update: Wasn't sure it would work, there are tons of conditionals and my brain is melted, but it did and now the palettes are in and I can sleep peacefully tonight, k bye 😂😴
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I spent the last few days researching traditional Ukranian folk patterns, then recreated some within the rules of my grid to create this piece, entitled 'Myr'.
256 editions at 0.5 tez each, 100% of proceeds go to Ukranian relief effort. Thank You 🙏🏾
versum.xyz/token/versum/1622…
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WIP 24.02.22
It's actually the exact same grid / proportions as a Sabler, just projected isometrically.
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If you sell your art, some will complain it should be free.
If you give it away, others will say you deserve compensation.
If you make art for money, some will say it isn't 'real' art.
And if you stop making art altogether… they will ask why you stopped.
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'HENkton' - A special edition red 'Tekton' for the #HENreunion event for #hicetnunc 🔴⚪️⚫️
512 editions at 4 tez each,
Unsold editions burnt in 24 hours.
teia.art/objkt/784522
Enjoy! 🙏🏾
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All of my work is based upon grids. Sometimes it's obvious, other times a bit less so. I like grids because I like having an underlying system or set of rules within which to create images, so that they retain similarity and structure, but with playfulness and approachability.
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Just collected 'Bruvura #65' by @dmarchi___ on @fx_hash_ ...the entire collection is quite simply, a masterpiece.
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The Near-Death of My Career As An Artist
I still remember the day my NFT project, Lebras, was supposed to change everything for me. It was March 11th, 2022, and I was sitting in front of my computer, hands shaking, heart racing.
Five minutes to launch, and I was convinced this was it – the project that would finally ‘put me on the map’. The pre-sale list was full. There seemed to be good engagement on my announcement tweets (yes tweets!). Everything seemed like a green light. But as the clock ticked down, that excitement turned to despair. The mints didn't come like I had expected them to. At the time the relative silence had felt deafening.
I had poured my heart and soul into Lebras, and its ‘failure’ felt like a personal rejection. I questioned everything: my art, my worth, my place in the NFT space. For months, I couldn't bring myself to create. I deleted projects, uninstalled software, and wondered if I had been delusional to think I could make it as a full-time artist at all.
But then, something unexpected happened. I casually scrolled through my feed and stumbled upon a logo design challenge on the Tezos platform, TEIA. Reluctantly, I grabbed the nearest sketchbook and started doodling an isometric cube, filled with letters that I called 'TEIA-sseract'. That casual experiment evolved into Tesseract, a project that would eventually mint out quickly and unexpectedly boost Lebras' sales.
Looking back, I realized that my attachment to the outcome had suffocated my creativity. I had been so focused on 'success' by the criteria of the space, that I forgot why I started creating in the first place – for the joy of it. Tesseract taught me that true freedom lies in detachment. When we create for the sake of creation, not for external validation, we tap into a deeper sense of purpose, that paradoxically seems to increase the likelyhood of favorable outcomes.
I know that letting go of attachment can sound like a cliché, a tired phrase that's easy to dismiss. But the truth is, it's the only method I've found that consistently works. It is counterintuitive, but the more we want something, the more we need to let go. It's a paradox that can be hard to wrap our heads around, but it is the only way to truly create sustainably without suffocating under the weight of our own expectations.
But here's the funny thing: creativity is not something we can turn away from or switch off easily. It is a part of us, a driving force that pushes us to create, even when (or especially when!) we think we've given up. It is a reminder that our passion and dedication are what truly matter.
As artists in the NFT space, we face unique pressures. We are driven by a desire for success, but the metrics we use to measure it – mint numbers, revenue, floor prices – they can be cold and unforgiving. It is easy to get caught up in the narratives and expectations of others. But we must resist. We must be kind to ourselves, acknowledging that our worth is not tied to our art's commercial success.
We must also work honestly and to the best of our ability at any given time. It is the only way to truly create something meaningful and authentic. When we pour our hearts and souls into our work, we open ourselves up to the possibility of failure, but also to the possibility of something truly remarkable.
Especially in a space like this, we must create with a lightness that comes from detachment. We can focus on the process, not the outcome. We can reward ourselves for taking risks and trying new things. And when the market is unpredictable, and our work seems invisible, we can hold on to the one thing that is always within our control – the act of creation itself.
If there is anything I have learnt over the past few years, it is that longevity in Web3 (as I see it) for most of us, will be the accumulation of small wins, the bravery to try, and the resilience to keep going. I often see great artists trickling out of the space, especially when the road ahead seems uncertain. It is understandable. However I wish for them to keep creating, and trust that the process will carry them through.
As I learned from my own journey, sometimes you have to go forward to cast light on what you've done before. And sometimes, that alone is enough.
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Has been awesome to see the love for 'Tesseract' on my feed this morning! Did you know the concept began to form when I was exploring a logo for 'Teia', mixed with the Sabler aesthetic? In the end I didn't finish the logo design but instead it evolved into 'Tesseract' 🔴⚪️⚫️
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17.05.22
Have been ruthlessly editing palettes today. It's amazing how much impact the wrong palettes can have on the perception of an overall collection. Many good and brave color combinations have fallen this day, but these four have made the cut!👌🏾
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Absolutely blown away by the response to Tessaract! Was not expecting to see it at the top of the fxHash 'highest 24 hour volume' list, but huge thanks to all the minters and collectors. Tomorrow I'll get right back to work exploring new ideas for future works! 🙏🏾
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Part of the problem in the generative art space are the cliques that claim to promote generative art but only acknowledge the same artists repeatedly or those who have sold well. This shows that artistic or aesthetic discourse isn’t their main concern.
For web3 to work as intended, artists must stop outsourcing their legitimacy to third parties who decide who is ‘in’ or not.
In the last couple of years, we’ve seen a few overhyped and inorganic drops pushed as ‘must-have’ collections, leaving many speculative collectors deep underwater.
Honest discussion is hard because it could hurt those collectors further. Instead, some double down and claim below-average art is a masterpiece.
This cognitive dissonance makes outsiders think we’re not serious, causes other artists to disengage and give up, and leaves the market imbalanced with no liquidity for genuinely valuable work.
This has a long-term impact, worsened by downturns in the crypto market.
I say this to encourage artists and well-meaning collectors to be mindful in future cycles.
It is also to remember the core reasons of why we do this: a better, fairer and more inclusive distribution method for digital artists that can create a means of sustainable practice. Provenance. Royalties.
The market is dormant, not dead. But for healthy longevity, we must address these issues going forward.
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26.10.23
'Threaderact'
(A thread 🧵)
This thread is about the special edition Tesseracts that exist, which allowed me to explore unique and interesting ways of expanding upon the Tesseract concept beyond the purely generative.
1/10
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'Babylon'
Created for the #RIPHEN event, this is combination of my current aesthetic with one of my first ever pieces I minted on Tezos over a year and a half ago on Hic Et Nunc, 'Kurohana One'. What a journey it's been! 🙏🏾
⚫️ 128 eds
🟤 4 tez
🔗 teia.art/objkt/795065
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'Tesseract Bergamasque'
A special 1/10 edition Tesseract for #high4tezos (forgot to tag when I minted).
Please leave an offer for *exactly* 10 tez (higher offers will be ignored). I'll pick 10 offers in a few hours randomly via an app.
Good luck 🙏🏾
versum.xyz/token/versum/2528…
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Celebrating 4,000 followers (late!) 🎉
'Omiyage' (お土産)
A special edition of 768
0 tez
*Friendly note: token locked for trading until 1/09.
One each please! Addresses collecting multiple editions for resale will be disqualified from future airdrops.
versum.xyz/token/versum/2867…
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Could not have asked for a better first day back in Tokyo. 'Walks of Life' (Transverse Ambulation) is on display at the Shibuya Sakura Stage every hour on the hour until June. When I started this project, I never imagined it would be on display just a few meters from the scramble crossing that inspired it. I will be back with some better videos / pictures.
Huge gratitude to @takawo for the incredible opportunity! 🙏🏾
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Ever wanted to see a 'Tesseract' up close? 😂As thanks for all your support, I've built an AR Tesseract to share with you all! You'll need the Adobe Aero app (which is currently iOS only) but you can access the Tesseract by scanning the QR code in the next tweet! 👌🏾
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Tesseract Yamanote
1/32 Editions
⚪️🟢
A special edition created as a token of my gratitude for long-time collectors and supporters of Tesseract, individuals that have been extremely kind to me in this space and artists that have inspired me.
特別版は、長年のコレクターやTesseractのサポーター、この空間で私に非常に親切にしてくれた個人や私にインスピレーションを与えてくれたアーティストに対する感謝の印として作成されました。
The 'Yamanote' Line is a circular metro line that runs through the central parts of Tokyo, consisting of 30 stations including notable locations like Shinjuku, Shibuya, Akihabara, Ueno and Harajuku.
この文章が読めるなら、山手線についてすでに知っているでしょうから、ここでの翻訳は不要ですね（笑）
This Tesseract presented a unique design challenge due to the fact that the Yamanote line is a loop. This meant finding a way for the Tesseract ribbons to not feel finite. It also meant careful arrangement of the stations that reflects the correct order of the actual metro line, without restricting or breaking too many rules of regular Tesseract designs.
このテッセラクトは、山手線がループであるため、独特のデザインの課題を提示しました。これは、テッセラクトのリボンが有限でないように感じさせる方法を見つけることを意味しました。また、通常のテッセラクトのデザインのルールをあまり破らず、制限することなく、実際の地下鉄の路線の正しい順序を反映した駅の丁寧な配置も意味しました。
🙏🏾
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Very excited to present the Studio Yorktown 'Color Town Hall' ! Created with the extremely generous assistance of @meodai creator of @color_parrot , the Color Town Hall will be a growing collection of my palettes for use by anyone!
Check it out here :
studioyorktown.github.io/col…
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'Zenzizenzizenzic'
grids created with p5.js, collage and post processing with Photoshop.
🔴⚪️⚫️
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Very pleased to reveal the first in a new series of Artist Collaboration Tesseracts:
Tesseract x Kato Trofimova
@TrofimovaKato and I have been creating this for a couple of months now and it has been an absolute joy. 🎉
16:00 UTC
64 Editions
32 tez
versum.xyz/token/versum/2845…
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A Tesseract-themed homage to the visual experiments and motifs of the American conceptual and abstract minimalist, Solomon 'Sol' LeWitt.
1 of 1 edition for the @1of1xtz event, July 2022
versum.xyz/token/versum/2581…
#1of1tez #1of1 #1of1xtz
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It's official! I'm hard at work coding a new generative @fx_hash_ collection for live minting at @prooofofpeople in London, July 6-8. Looking forward to sharing more with you very soon! 🙏🏾
ARTIST ANNOUNCEMENT:
Bruce / Studio Yorktown @studioyorktown
Kwame 'Bruce' Busia is a multidisciplinary artist from London, better known as Studio Yorktown.
#PROOFOFPEOPLE by @verticalcrypto
register here: proofofpeople.eventbrite.com
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The final Lebras #512 has just been minted by @andreadionisio and is now sold out. This is a big deal for me because I had lost a bit of confidence after a slow start for Lebras, but decided to regroup + keep pushing to make Tesseract, Ersbla etc, so thank you all immensely. 🙏🏾🔴⚪️⚫️🎉
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'Sabler Zero' has been minted and is now collectible on @versumofficial as my offering for #item4item !
256 editions, 0 tez
versum.xyz/token/versum/2477
Enjoy! 🤝
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