This coming Monday

▫️A snippet of Mark Rothko last public speech upon receiving an honorary award at Yale University. He took his life the year after in 1970. "When I was a younger man, art was a lonely thing; no galleries, no collectors, no critics, no money. Yet it was a golden time, for then we had nothing to lose and a vision to gain. Today it is not quite the same. It is a time of tons of verbiage, activity, and consumption. Which condition is better for the world at large I will not venture to discuss. But I do know that many who are driven to this life are desperately searching for those pockets of silence where they can root and grow. We must all hope that they find them."

✨Six Letters ✨by Andreas Gysin & Sidi Vanetti This mesmerizing piece showcases over 3000 of the most commonly used words in the English language, seamlessly transitioning into each other. To achieve smooth transitions with minimal effort, the artists employed an approximation of the traveling salesman algorithm. 🤍Installing in London tomorrow! 🤍

Testing 🔌

Geometric Fluidity in all its glory 🖤🔌

Install day 🥤🧃🧉

Oof, what an emotional day! Exactly two years ago, we launched Verse. It was an exciting and stressful experience. As someone new to the web3 space, it felt like being thrown into a deep pool without knowing how to swim. It was important to me to launch the program with a reference to art history, more as a safety net than an intellectual choice—like holding onto the side of the pool when you're learning to swim. This launch was also the start of thinking about the kind of exhibitions we wanted to curate at Verse and what our long-term voice would be. It made perfect sense to pay homage to "This is Tomorrow," the iconic 1956 exhibition at Whitechapel Gallery in London, where the Independent Group—a radical collective of young artists, writers, and critics—explored the influence of technology on everyday life. Back then, technology was mostly limited to television and radio. What was unusual about that exhibition was the collaboration amongst artists, architects, designers, writers, and thinkers rather than just visual artists. Drawing inspiration from this felt appropriate as we slowly entered a new phase of art history of not seeing the art world through one canon only. From the beginning, we wanted Verse to be built on collaborations with other artists, curators, thinkers, and galleries. We launched with incredible individuals—huge thanks to @davidshrigley , @tylerxhobbs , @postanika , @zancan, @jtchomko and so many others who believed in our then non-existent platform. Without them, we wouldn't be here today! Fast forward to today: Verse has collaborated with over 200 artists and more than 70 curators and galleries. We have grown into a community of over 10k collectors 💫❣️ In the summer of 2023, we launched our @verse_solos gallery program to work more closely with individual artists and deepen our connection to their practices. We were fortunate to work with artists like Andreas Gysin & Sidi Vanetti @andreasgysin ,@TaborRobak , @mayaonthenet @harvey_rayner @kGolid @harmvddorpel @jMarkusiewicz @williamapan @zachlieberman @rainisto, making Verse Solos a program we are insanely proud of. It feels like the right time to take a summer break for @verse_solos to give us the opportunity to refine our program and prepare for the next group of artists. During this time, we look forward to continuing our collaboration with those who enrich Verse. ❤️‍🔥Mountains of thanks to the our incredible collectors. Your support, patience, enthusiasm and feedback has helped us grow in such a short amount of time. ❤️‍🔥Biggest thanks to my wonderful colleagues. We have the most hardworking team in the world and on top of that the most kind individuals anyone could ask for. ❤️‍🔥Special thanks to @jamiegourlay, for all those hours of brainstorming, encouraging crazy ideas, putting up with my questionable sense of humour and more than anything to give me his full faith and bring @verse_works to life. ❣️I can't wait for us to share with you our new Verse Solos program. Stay tuned for updates and in the meanwhile enjoy your Sunday and have a piece of cake for Verse's birthday. 💫On a side note, Verse and I sort of share a birthday. I love this picture that my son took last night with his smudged fingers. Perfect, just like Gerhard Richter and genuinely captures my happiness and gratitude for all that has come my way.💫❤️‍🔥

Art Basel Miami X SOLOS When I first entered the digital art space - the NFT space - what drew me in was the sense that something genuinely new was happening. It felt underground, full of people experimenting outside the usual art-world structures. SOLOS was born out of that energy, but also out of a need for focus. The space was moving fast, loud, and constantly shifting. We wanted to create a format that slows things down - a space where a single artist can be seen clearly, without the noise. I never imagined that, in such a short time, we’d be showing at Art Basel. And I definitely didn’t expect that it would be with an artist like Tyler Hobbs. Tyler is someone who approaches generative art with a tangible level of depth and intention. His work isn’t just about code as a tool - it’s about how structure, chance, and visual systems can still feel human. He has a way of folding rigorous logic into something emotional, something that breathes. You always feel the thoughtfulness behind the form. He’s weathered every shift in this space without losing that focus. He doesn’t follow the noise or react to every market cycle - he just keeps creating, refining, expanding the language of what art can be. I’m proud that we get to present him through SOLOS: to position his work within the wider contemporary art context, while recognising that what he’s doing is still ahead of where most of the field is willing to go. Big thanks to @eli_schein and the @ArtBasel team for welcoming us. And of course the biggest thanks to @tylerxhobbs for trusting us with his beautiful new works.

Hypnotizing to say the least

And then… there is THIS beauty 🥹🙏🏽✨❣️(artist is missed immensely)

Installation day 🔥🦋

At a certain point in my career, museums and galleries began to feel like a very small, insular world. It seemed that curators were working within a closed loop, always showcasing the same select group of artists and galleries. You’d see the same people repeatedly. It became clear to me that the art world is changing. My kids are a prime example. Despite their mother's career as a curator and their father as an artist (and being taken to countless exhibitions in baby carriers), they’ve developed a dislike for traditional art spaces. They spent their childhoods running up and down empty galleries, with me worrying they might knock things over. Now, they absorb creativity, art, and culture entirely through their phones... This shift is incredibly powerful. I don’t dwell on why the world has changed; I embrace it. The fact is, we’ve entered a new era. My work has always been driven by creative people/artists who see the world differently and remind me to truly live, rather than being swept into what is prescribed by dominant society. Whether these artists are shown in a museum or found on my browser, doesn't really matter as long as their work has an impact on me. Joining @verse_works has been my way of exploring this new art world, and this journey has been incredibly satisfying. To make our curatorial program more distinct, we will be separating @solos_gallery from the Verse platform. This is a big step, but I am excited for you to see the program. Call me a cliché/romantic, but I deeply believe in the power of art and think we have the most impressive tools and people to make this movement the biggest yet. Thank you for being among the first to join us on this journey. I hope you’ll continue with us as we navigate a few turns left and right. It wont be smooth, but I promise it will be fun. Stay tuned for our announcements over the next few weeks. ❣️ (Below a pic of my fam from 10 years back when I caught them on a calm moment at a Mona Hatoum exhibition at the @Tate)

Honestly makes my heart skip a beat ✨

I might start crying 🥲

It’ all getting very real over here… @verse_works has been busy cooking 👩‍🍳👨‍🍳👩‍🍳👩‍🍳 and it’s looking delicious 🤤

It about to kick off 💣

Getting distracted by Geometric Fluidity

🦄

✨Installing IRL London - opens tomorrow 🔥🇬🇧

There’s something strangely beautiful and honest about the way Nikita Diakur sees the world. His films aren’t perfect or sentimental. They stutter, glitch, and fall apart. Scenes collapse, characters are awkward. And yet, we connect with them not despite the fact they’re animated, but maybe just because of it. That’s what makes it so strange. In all this rendered chaos, there’s something quite human. Working with simulation, physics engines, and motion capture, Nikita lets his tools misbehave. The work is raw, unpredictable, and full of feeling. It holds space for discomfort, weirdness, and a little tension between control and chaos. Ugly, which Nikita has been developing since as early as 2014, is the film that put him on the map. It follows a misfit, presented as an ugly cat, in a dystopian suburbia. But it’s also a kind of manifesto: a rejection of polish and perfection in favour of something more kind.. For Nikita’s @solos_gallery exhibition, we’re releasing a new selection of works from the Ugly world—scenes he’s been quietly building since 2013, many of which have never been shown before. He’s described it as opening a treasure box. These are pieces that expand the universe of Ugly, not as a closed film, but as an ongoing world that keeps revealing its scenes. We’re so proud to be opening this show at the end of the month. My brilliant colleague Anna and I can’t wait to install it—and for those in London, please make sure to join us, as Nikita will be in town for it. ↓ Doorway (2014-2025)

Happiest of birthdays to one of the greatest people alive🎈 Signing here the exquisite piece Through Your Eyes #4 owned by @ArtRalgo.

This is how we do it … 🎶

It’s hard to believe that a digital artist so native to the medium like @zachlieberman started off as a painter and printmaker. He really didn’t work with computers at all to start with… And what I love most about @zachlieberman is that he continues to be a TRUE experimenter. Much like an alchemist for colour and energy. Can’t wait to meet you tomorrow Zach, if around join us for closing drinks. More info at @verse_works ❤️‍🔥

Somebody stop me …

A computer for women … absolute brilliance 😂 #1980s

Marfa delights 💕

Our upcoming program for SOLOS is not for lightweights. We're not trying to be the art world, and we're not trying to regurgitate what the NFT space considers the "right" kind of work. We're trying to carve our own lane that speaks to the moment we’re living.

Lorna how is this scale? @jeffgdavis and @bygrida posing ahead of my presentation tomorrow 😂 @NFCsummit 💗@lm_netwebs @verse_works @solos_gallery

Lovely interview between @HUObrist and @tylerxhobbs. I have a soft spot for Hans Ulrich, he’s to me still one of the most open minded and forward thinking curators out there. Full interview below. Video by Unit Gallery.

I mean I want to stop posting but it’s so hard not to share these 🎯

Decided not to make it to Paris. While I was so looking forward to seeing everyone, I realise it’s important to take a breather and stop running around 🤪! Morning dog walks at low tide and listening to old school hip hop are the ultimate reset for me ✨😉

There is nothing like seeing them in person. Total beauties 🍧🍡🍮🍦🍭

Public art is a powerful phenomenon. When done at its best, it takes you out of your crazy daily routine and reminds you that there is magic to be found even in mundane daily life. Stepping out of the tube, on one of London's busiest streets (apparently with over a million visitors daily), you are confronted with ‘Color Stripe Study’. You’ll see people taking footage, mesmerized by the meditative nature of the piece. Zach's work explores color and how it affects us emotionally and physically. Being immersed in this massive scale of his work, along with the music of Daito Manabe, felt beyond exhilarating. (I’m sorry my footage not doing it any justice) Zach created this work specifically for this space, primarily using a C++ shader programming tool co-developed by Zach himself. Zach you continue to amaze - thank you 💗

I spent much of my life in the mountains of Iran. My father insisted on us leaving the city, he wanted us to connect to our roots & not get caught up in city life. He’d say the best way to know yourself is by discovering nature. These pieces definitely bring me back to them…

Anyone who’s been to an exhibition of works by Tabor Robak knows that the displays are par excellence. Below some images from previous shows. From left to right: A*, 2014 14-channel HD video; 8 minutes Shown at the Swiss Institute Butterflyroom 2015 100-channel 720p video, 100 of each: raspberry pi, 5” display, 1gb sd card, custom plexi armature 1 minute loops with randomization | 8 × 8 ft Shown at the Yuz Museum, Shanghai Garbage Day 2019 Custom claw game Shown at Von Ammon Co, Washington DC

House Fire From Ugly Memories (2014-2025)

Erik and Soma💡✨

In the spirit of Art Basel, it feels right to release what might be considered @tinysoulgame's most important work yet. Fact is, the more famous an artwork becomes, the more important it gets. Look at the Mona Lisa or The Night Watch—millions travel to see these works, and their significance grows with each new viewer. The more people see them, the deeper they seep into our culture and history. The same applies here with @tinysoulgame's work. Fries, in particular, has struck a powerful chord, resonating with millions and going completely viral. Its reach amplifies its importance, building a momentum that feels unstoppable. Sometimes, works just click. You can’t entirely explain it—the art hits a nerve, which is why it’s been shared so widely. Fries perfectly embodies tinysoul’s spirit: playful, witty, and just strange enough to leave you slightly off balance.

Rooted in intuition. Serene Abyss (extract) 2024

I am thrilled to announce that the code for @JanRobertLeegte work ‘Bottons’ is finally up and ready for exploration 💜

Oh hello @SHL0MS 🖤 Thank you for the publication, it’s perfect 🖤

The other genius to his art lies in his character: he’s playful,mysterious & wise. Through his art, he transports you to strange and beautiful worlds, where contrasting elements coexist in harmony, much like a wizard's spell. Truly an honor 🙏🏽✨

💚 I knew it’d be a good day 💚

❤️ finally finished ❤️ thank you to all the artists and galleries who have made this a total dream ❤️

Reaching for the sun ☀️ with @Cory_Haber

A little snippet of Wayfinder by Andreas Gysin& Sidi Vanetti 🤍

Oh my, oh my 🤍@kGolid @verse_works

Nam June Paik, TV Cello (1971) Performed by cellist Charlotte Moorman

I was lucky enough to see @JanRobertLeegte incredible exhibition NO CONTENT: CONTEMPLATIONS ON SOFTWARE in the flesh. You’ll quickly recognize his jpeg pieces displayed beautifully in this exquisite 17th century gallery space. Frankly it was all quite dreamy. What you can’t see is a piece I was most most moved by. A sound piece entitled ‘rise and fall’ which is a generative work Jan created with white noise simulating the sound of waves. How remarkable are the toolbars that are assembled in the space as though they have been washed up to shore… thank you 💙 @JanRobertLeegte and 💙@GalleryUpstream for your warmest reception. I’m honored to be welcomed into your gallery family. We can’t wait to work with @JanRobertLeegte later this month. Watch this space 🚀@verse_works

🤍A year in the making, we couldn't be prouder of the upcoming Verse Solos exhibition "Intimacy" which includes two pivotal bodies of work within William's practice. It feels like William is just beginning his exploration of what creativity means and how it manifests. His appetite for color, texture, and rawness is deeply personal, and you truly feel like you're on an artistic journey with him. Utterly inspiring. William's work has soul. That's what I love most about it. Isn't that the most challenging essence to capture - especially when expressing yourself with code? We'll be discussing William's practice as part of a broader narrative of contemporary art with two brilliant institutional curators, Tamar Clarke-Brown (@SerpentineUK ) and Melanie Lenz (@V_and_A ). If you can please join us for the talk and drinks this TUESDAY starting at 6 pm. And if you do please RSVP (see link in comments) 🤍

Really honored to be mentioned here in relation to @annaluciacodes incredible work in the @nytimes 🤍 @verse_works had the pleasure of hosting Anna’s work via the exhibition Generative Abstraction co-curated by @postanika & @ExpandedArt a while back. ✨

I don’t think Andreas & Sidi have slept for the past 3 weeks! Opening in 5 hours and still installing 🙌🏽🤍😉 #installationday

🔉SOUND UP🔉 (from the studio) a detail of Andreas Gysin & Sidi Vanetti’s work ‘Digits’ to be shown in their upcoming Verse Solos exhibition in London @verse_works @andreasgysin ✨

Absolutely stunning display of Sarah Sze at Victoria Miro gallery 🤍 That’s how you do it - superb 👌🏽

Back home at the office 🐶💻 Basel you have been a shot of adrenaline. Just what this art addict needed 💉

WHAT A DAY 🫠 Mega thanks to everyone being part of Algorithmic Evolution, either by participating in the performance or by collecting Geometric Fluidity today. We had the most amazing individuals come from far and near to be at our IRL opening reception. I’m so immensely grateful you came, it means the world to celebrate this exhibition with people who care so deeply about Botto. 🙏🏽🤍 We had nearly 400 people 🤯 at the opening reception while Louis (The Art Newspaper) and Melanie (v&a) were in a panel along with @hudsonsims and @quasimondo. I’m not sure I can express quite enough gratitude for the @bottoproject, @quasimondo and in particular @hudsonsims for being just brilliant people to work with. We’re just kicking off, but it’s a great start to say the least.

We’ve been working with @tinysoulgame for over a year now. When we first got in touch, we didn’t really know what to expect. What was clear from the start is that he’s onto something. I first came across his work when @lm_netwebs posted his work - always a good sign when one artist points you to another. It wasn’t all that easy to reach him, but between @chilltulpa and me we finally managed, and that’s how the conversation about releasing his work began. It quickly became clear that tinysoul is a free soul. A true creative who follows intuition and what’s around him. It’s refreshing to meet someone like that, because so many artists don’t allow themselves that kind of freedom. tinysoul left the UK for Thailand, not just to pursue creative projects but also to work with local schools, raising awareness of the dangers of online life. He speaks openly about having ADHD, and I think that adds to the genius of his work. His pieces pull together so many wild, unexpected elements into one composition. Life isn’t linear - there are ups and downs - and for him, art is both a refuge and a place of intensity that he sometimes needs to step back from. level 1 marked his first ever minted work. He’s since released pieces on @zora , @rodeodotclub and will soon be on @SuperRare. All of this is part of what makes tinysoul who he is - it’s about being anti-exclusivity, anti-linear. And I’m here for that. We’ll close level 1 in mid-November, until then @solos_gallery will be hosting regular auctions of his work on @verse_works. Definitely keep an eye open for these crazy pieces. Pictured: ‘fries’, collected by @XCOPYART on @solos_gallery.

Vacationing with @rainisto 🙌🏽

I just don’t think I’ll ever get tired of Quantizer. We are witnessing an exquisite and defining series here and I am so grateful SOLOS got to be part of it.

To be honest, this curatorial panel started from a selfish place. I absolutely love discussing the state of culture and digital art with people I respect so deeply. It is complex, and we are still learning, so it feels essential to keep the dialogue open. It is our absolute mission to make digital art a major force, but we can’t do this alone. Even with our incredible team, we don’t possess a fraction of the humbling knowledge that our curatorial board brings to the table. Verse is intended to be a platform showcasing the world’s best digital art. However, the word ‘best’ takes on different meanings and is evolving as rapidly as culture itself. Collectively, we need to discuss, debate, and define what art means today and what it will look like in the future. And, no doubt, the galleries of today will be shaping that future. Our new board will help us select the next set of galleries on Verse. We will be accepting submissions from curators, art dealers, galleries, and creative thinkers who want to collaborate with digital artists and exhibit them on Verse. We are looking for people who are as committed as we are to setting the highest standard in digital art. I am incredibly grateful to our exceptional board, made up of distinguished art aficionados and true professionals whom we deeply respect and who have graciously agreed to be part of this journey. These individuals recognise that we are at a pivotal moment in art history, and we look forward to working with them to explore how Verse can collaborate with galleries that share this vision. Verse is growing up, and we need a village to make it happen. I am so excited for all that is to come! Here’s to moving upward and forward. Big love, L x

Ready to deal

I was telling @williamapan yesterday that interestingly, the last thing I think about when I look at Sketchbook B is that they are made with code. There is something so strong about them compositionally, that you just get completely lost in the in work itself....(and then I remember and it messes with my head quite a bit).

LISBOA 4/5 JUNE It definitely feels strange posting a picture of myself, but I’ll make an exception for this one as I’m against Sketchbook B by William Mapan, one of my favourite works to date. I’m genuinely excited to be joining a brilliant group of speakers and to connect with the incredible people in our community. Honestly events like this always make me pause and reflect on why I/we @verse_works do what we do, and I’m looking forward to sharing a bit of that with you. Big thanks to the very kind @bygrida for inviting me to @NFCsummit 🧡

Honest thoughts on Marina Abramović upcoming NFT release?

Andreas Gysin & Sidi Vanetti, the artist duo who set off our SOLOS programme back in spring ‘23 🤍 ⁦@solos_gallery⁩ ⁦@andreasgysin⁩

And just like that, our @williamapan sale is wrapped. I know I’ve said this before, but these two series of works really meant a lot to me. They are thoughtful and grounded collections that I’m genuinely proud we got to be part of. Thank you to everyone who spent time with the algorithms, collected, or supported along the way. Massive thanks to William for being just himself and allowing us to work with him. 📷Sketchbook B owned by one of my favourite individuals of all time, @ArtRalgo. 💗🫡

because I can't get enough of it ... sound up 🔊

The first time I stood in front of an Agnes Martin painting, something strange happened. I’ve always been drawn to maximalism - to things loud, noisy, and flamboyant - but this was different. I had never felt that kind of stillness from a painting before. So understated, yet so strong. Filled with emotion that seemed to arrive from somewhere beyond language. I stayed there for a long time (well, maybe a few minutes, which is a long time for me), trying to understand what exactly was happening to me. Agnes Martin never painted minimalism; she painted states of being. Her grids were not about systems or precision, but about transcendence - about finding a kind of order that dissolves into feeling. I felt really similar when I first saw @tylerxhobbs work at Unit in 2023. It was Jacquard Legacy, in particular that had a simplicity that felt almost devotional in its focus. It’s no surprise that Martin, amongst other painters, has been a point of inspiration for Tyler. His practice also emerges from a state of deep attention, or perhaps a kind of transcendence that comes from losing oneself entirely in the making of the work. Left : Agnes Martin, Untitled 1960 Right: Tyler Hobbs, Jacquard Legacy, 2022

✨1/8 VERSE SOLOS featuring Andreas Gysin & Sidi Vanetti this Tuesday !✨ Permanently navigating between the digital and physical mediums, Andreas & Sidi’s work is informed by industrial objects like split-flap displays seen at gas/train stations or LED panels commonly found in the city 👇🏽🧵

Maestro at work 🖌️ >>>> join us tonight Particularly excited to speak to @monkantony_tez @williamapan and Julia Greenway 💕💚💙

‘I pursue no objectives, no systems, no tendency; I have no program, no style, no direction. I steer clear of definitions. I don’t know what I want. I am inconsistent, non-committal, passive; I like the indefinite, the boundless; I like continual uncertainty.’ #gerhardrichter ❤️

Ugly is a world that is constructed out of Nikita's imagination as well as his own immediate environment. Never have concrete urban landscapes look more intriguing. The city as an extension of the home. A place where closeness and loneliness live side by side. We are opening Nikita's SOLOS next week, RSVP below 🥂🏙️💗 Doberman Run from Ugly Memories 2014-25

SOLOS x Artie Galerie Partnerships excite us because they bring new voices to SOLOS. Earlier this summer, Luba Elliott introduced us to Terence Broad, a relatively unheard voice in AI art, and recently @artiegalerie got us onto the works of @uncertaingaze. What we admire most about Artie Galerie is the impeccable taste and the way he never goes for the obvious. While Gozo's work is difficult to describe, for me the allure lies in the sensual forms and organic qualities in the shapes that he creates. They feel familiar but somehow slip from recognition. They seem weirdly meaningful while they perhaps have no meaning at all. We will be able to see the full collection this October, until then I will stay patient.

Études bringing on the drama...

18 ᴍᴏɴᴛʜꜱ ᴏꜰ ᴘʀᴇᴘᴀʀᴀᴛɪᴏɴ 2 ɪɴᴄʀᴇᴅɪʙʟᴇ ʙᴏᴅɪᴇꜱ ᴏꜰ ᴡᴏʀᴋ ᴘʀᴏᴜᴅ ꜰᴏʀ ꜱᴏʟᴏꜱ ᴛᴏ ʜᴏꜱᴛ ᴛʜɪꜱ. ᴘʀᴏᴜᴅ ᴛᴏ ᴡᴏʀᴋ ᴡɪᴛʜ ᴍᴏɴꜱɪᴇᴜʀ ᴍᴀᴘᴀɴ. ᴘʀᴏᴜᴅᴇꜱᴛ ᴛᴏ ꜱᴇᴇ our ᴄᴏᴍᴍᴜɴɪᴛʏ’ꜱ ᴇxᴄɪᴛᴇᴍᴇɴᴛ Today ↓↓↓

GORGEOUS exhibition of @petcortright at Duarte Sequeira Seoul. On view until the 30th of April 🤍

Queen of all queens @lm_netwebs ❤️‍🔥👑 Upalong Orange_1920 🧡

Glorious exhibition shots from @tylerxhobbs exhibition at @PaceGallery NYC back in 2023. Tyler Hobbs QQL: Analogs Mar 30 – Apr 22, 2023

Guess where I am …

Our galleries are situated in central London, near a number of museums like the V&A and the science museum. When we get visitors to the gallery they usually take a round, admire the work and then come back with many questions when they clock that the artworks have been created by code. Mostly visitors find it astonishing that the artist hand and trait is so distinguishable in their generated outputs. This is without doubt a true testament to the caliber of artists we are fortunate to work with. Thank you to all artists who entrust us ! Pictured here @lunarean and @krankarta 💙

Install day 🔌

I’m incredibly proud to announce Harm’s second SOLOS exhibition Quantizer, opening this August. The release will present a new series of work that Harm has been developing over the past year. Like much of his practice, these works come from a personal place, but are rooted in systems, algorithms, and complex code. For some time now, Harm has been contemplating the concept of transience, as a guiding influence in his life practice. He was especially moved by the artefact of sand mandalas, where monks spend weeks creating intricate, symmetrical designs only to dismantle them in an act of ritualistic erasure. This gesture is a form of meditation, an embrace of change, and a reminder that there is no unchangeable essence. While the ethos of slowness may seem at odds with the rapid pace of Web3, Harm suggests there is value in resisting the rush, in lingering with a composition, letting the eye move with it, noticing what shifts and what stays still. This way of thinking has long informed Harm’s approach to code-based art, but it comes through especially clearly in Anicca (currently on display with Upstream Gallery in Amsterdam) and now again in Quantizer. These works are in constant flux, each token is a broadcast channel, so to say. Their variations are subtle but endless. Rather than seeking finality, Harm deliberately embraces instability as a core quality of the medium. For him, the most interesting aspect of generative digital art is that it is inherently unstable, it is the reason why he resists arriving at immutable outputs. The title Quantizer refers to quantization, an algorithm that reduces a large set of continuous values to discrete units. Harm uses this transformation both technically and poetically. It speaks to resolution, to precision, and to the beauty that can emerge from constraint. Visually, the works are soft and apply dithering. Dithering, in this context, is not only a technique for blending and shading, but an aesthetic and conceptual concern, valued as much for its retro visual texture as for the logic behind its function. The colours are taken here from palettes of historical computers, such as for example the IBM CGA and the ZX Spectrum. The idea of transformation links Quantizer to earlier works like Mutant Garden Seeder, but their systems operate very differently. Mutant Garden Seeder is evolutionary, with mutations that are cumulative, each one building on the last. Change is progressive. In Quantizer, by contrast, each variation exists independently. The system has no memory, as in Markov’s Dream each token has a fixed vocabulary and grammar of shapes and rules, determined on mint. Then, it uses Ethereum block hashes as seeds to generate a new composition every 12 seconds. Through the use of dithering and added gaussian noise, transitions remain smooth and continuous. And because the data is sourced directly from the Ethereum blockchain, everyone sees the same image at the same time, no matter where they are. In many ways, this new release builds on Harm’s last SOLOS exhibition Struggle for Pleasure, which remains one of the exhibitions I’m proudest of. The series explored the tension between resisting beauty and being seduced by it, especially through pixelation. Quantizer picks up that thread but further complicates  it. All of Harm’s work asks for stillness, attention, and time. Creating the work was meditative, and so is observing it. These are pieces made by someone who has spent years engaging with code, not to impress with technological ability, but to get to something quieter and perhaps more essential. *the GIF below is just a teaser representing an output from Quantizer.

SOLOS | Harm van den Dorpel Quantizer 2025

The news is out ! Incredibly proud for @solos_gallery to present new works by @tylerxhobbs amongst such an incredible group of artists and galleries. We are excited to share more information on Tyler's new works in the next coming days.

Sometimes, it’s all about scale …

Nikita + pizza+ vodka + ugly memories It’s a perfect opening ✨

SOLOS | June 2025 Soma by Erik Swahn Light has always been an obsession for artists, both a technical problem and a spiritual pursuit. In the pre-modern world, it signalled the divine: golden halos in medieval iconography, the ecstatic blaze of Baroque painting. Later, with Turner and Monet, light became a vehicle for perception itself, atmospheric, unstable, deeply temporal. In the 20th century, artists like James Turrell and Dan Flavin stripped it of representation entirely, treating light as pure material, immersive and sculptural. Erik Swahn’s Soma belongs to this lineage, but it arrives through a different portal. His light doesn’t reflect. It radiates. It emerges from code. Soma suggests a kind of digital mysticism. These works are born from systems that are built through generative processes, but they hum with something harder to define: mood, rhythm, sensation, spirit. In Erik’s cosmos, light is a sign of life but with the body not depicted, though implied like a gravitational absence around which form gathers and dissolves. The chromatic bursts in Soma continue Erik’s dialogue with colour and abstraction, as seen in earlier works such as Fields (2023), but they mark a clear shift. Works like Farbteiler (2021), Punktwelt (2022), and Funktor (2023) were grounded in geometry, precision, and internal structure. In Soma, all that collapses. Form and colour disintegrate into their smallest units - a particulate cloud, suspended in flux. In Soma, Erik abandons structure. In its place: fields that hover between coherence and collapse. Each work feels like a moment paused in transformation, not a static image but a temporal state. These are not bodies of flesh, but of frequency. Some resemble cellular structures. Others evoke distant constellations. The microscopic and the cosmic meet in the same visual grammar - a field of emergence, of matter thinking itself into form.

gold is gold... and I love gold. detour by @uncertaingaze @solos_gallery x @artiegalerie

Apparently around 1982 it wasn’t unusual to walk into a nightclub in NYC and bump into the likes of Basquiat, Keith Haring, Kenny Scharf and Madonna Ciccone, aka Madonna. Basquiat and Madonna’s love affair lasted only for a few months but was apparently intense. Rumour has it that following their break-up, Basquiat asked for all of his paintings back that he initially gave to @Madonna. He painted them black, as he was concerned with the idea that she might resell them, and therefore devalue the sincerity of their relationship.

Very excited for this one - @jamiegourlay and I are sitting down with @davidshrigley for the next pod. Out Friday :))) Any burning questions you’d like us to throw his way? David Shrigley My artwork, 2018 Neon 229 x 143cm

It’s on 🍾🎉

I realise I had not posted these insanely beautiful works by @harmvddorpel 💜 at my favorite gallery (@GalleryUpstream ). Also the exhibition of works by @JanRobertLeegte is still on if you happen to be in Amsterdam. Go visit the exhibition. It’s really an experience you don’t want to miss.💜 ✨✨✨✨

I met Frank Stella in 2012 when I had to interview him for a film I was producing at the time. I had just had my second baby—I had two boys under 2 years old and had to leave them quite hastily with my husband when Frank agreed to meet me. I was so nervous and frankly a mess (anyone with young children knows that feeling). Stepping into his amazing house/studio in the West Village, my heart was beating a million miles an hour. But then Frank opened the door—sweet, kind, warm, and insanely humble. He made me feel so at home. We got our footage, but I was too shy to ask for a picture with him. It honestly was one of the most special encounters in my life. Rest in peace, Frank. You are an absolute legend and you will never be forgotten. 💔

✨With Verse Solos we try really hard to bring out the core essence of the artists’ work ✨ Kinetic installations for Andreas & Sidi- monumental museum displays for Harvey and the purest celebrations of light for Zach. We take our exhibitions seriously 🫡. Wait till you see @mayaonthenet 🦄 @williamapan ❤️‍🔥 (we are cooking and it’s looking pretty insane ) Thank you to all artists who have trusted us so far ❤️❤️❤️@harvey_rayner @andreasgysin @zachlieberman @verse_works

Good morning ;-) today is is day! 🤍 @williamapan @verse_works

Upcoming guest on the @verse_works pod 🫠 Paul Pfeiffer Vs. (Short-Form Videos) Presented by @artw__rld

Mega mega mega ✨✨✨ Yessss @bottoproject ! Yessss @quasimondo ! Yessss @hudsonsims ! And all others mentioned 🤍✨ Thank you @JebbL and @TheArtNewspaper . We are eternally grateful for your insight ✨ Ouuuffff what a week ✨

Installation time 💜 Pictured below from the “Swallow, only Shallow” series by @harmvddorpel

Beautiful work by @yoshi_sodeoka at @DigitaArtWeek l💗💗💗💗💗

✨Bonjour✨