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제작자 simondemai
제작자 simondemai

«𝘌𝘷𝘊𝘳𝘺𝘵𝘩𝘪𝘯𝘚'𝘎 𝘳𝘶𝘯𝘯𝘪𝘯𝘚 𝘎𝘮𝘰𝘰𝘵𝘩𝘭𝘺, 𝘢𝘯𝘥 𝘺𝘰𝘶?»¹

In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally «set to drift»² in an endless scrolling motion. The elements in each composition vary over time without ever reaching a final form.

Visual artifacts remind of analog electronics. Feedback loops undermine the accuracy of digital technology. As time passes, it is increasingly difficult to recognize the original composition: frame after frame, cycle after cycle, the image is dissolved into a landscape of liquid forms and oversaturated colors.

After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes.

Drifting, la «dérive»³, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of self–discovery.

(1) 𝘚𝘶𝘱𝘊𝘳 𝘀𝘰𝘮𝘱𝘶𝘵𝘊𝘳 𝘏𝘈𝘓9000 𝘪𝘯 𝘀𝘰𝘯𝘷𝘊𝘳𝘎𝘢𝘵𝘪𝘰𝘯 𝘞𝘪𝘵𝘩 𝘋𝘢𝘷𝘊 𝘉𝘰𝘞𝘮𝘢𝘯 («2001: 𝘈 𝘚𝘱𝘢𝘀𝘊 𝘖𝘥𝘺𝘎𝘎𝘊𝘺», 𝘚. 𝘒𝘶𝘣𝘳𝘪𝘀𝘬, 1968). (2) «𝘋𝘳𝘪𝘧𝘵𝘪𝘯𝘚» 𝘪𝘎 𝘢𝘭𝘎𝘰 𝘢 𝘵𝘊𝘀𝘩𝘯𝘪𝘲𝘶𝘊 𝘶𝘎𝘊𝘥 𝘪𝘯 𝘊𝘢𝘳𝘭𝘺 𝘷𝘪𝘥𝘊𝘰 𝘢𝘳𝘵: “𝘣𝘺 𝘢𝘭𝘵𝘊𝘳𝘪𝘯𝘚 𝘵𝘩𝘊 𝘵𝘪𝘮𝘪𝘯𝘚 𝘱𝘶𝘭𝘎𝘊 𝘰𝘧 𝘵𝘩𝘊 𝘎𝘪𝘚𝘯𝘢𝘭, [
] 𝘢𝘯 𝘪𝘮𝘢𝘚𝘊 𝘀𝘰𝘯𝘵𝘪𝘯𝘶𝘰𝘶𝘎𝘭𝘺 𝘥𝘳𝘪𝘧𝘵𝘊𝘥 𝘩𝘰𝘳𝘪𝘻𝘰𝘯𝘵𝘢𝘭𝘭𝘺” («𝘕𝘰𝘵𝘊𝘎 𝘵𝘰𝘞𝘢𝘳𝘥 𝘢 𝘩𝘪𝘎𝘵𝘰𝘳𝘺 𝘰𝘧 𝘪𝘮𝘢𝘚𝘊-𝘱𝘳𝘰𝘀𝘊𝘎𝘎𝘊𝘥 𝘷𝘪𝘥𝘊𝘰», 𝘓. 𝘍𝘶𝘳𝘭𝘰𝘯𝘚, 1970). (3) 𝘍𝘳𝘊𝘯𝘀𝘩 𝘞𝘰𝘳𝘥 𝘧𝘰𝘳 «𝘥𝘳𝘪𝘧𝘵» (𝘎𝘊𝘊 𝘢𝘭𝘎𝘰 «𝘛𝘩𝘊𝘰𝘳𝘪𝘊 𝘥𝘊 𝘭𝘢 𝘥𝘊𝘳𝘪𝘷𝘊», 𝘎. 𝘋𝘊𝘣𝘰𝘳𝘥, 1956).

Drifting by Simon De Mai collection image

Art Blocks Collection: Presents

Heritage Art Blocks Collection: Playground

Project Description: «𝘌𝘷𝘊𝘳𝘺𝘵𝘩𝘪𝘯𝘚'𝘎 𝘳𝘶𝘯𝘯𝘪𝘯𝘚 𝘎𝘮𝘰𝘰𝘵𝘩𝘭𝘺, 𝘢𝘯𝘥 𝘺𝘰𝘶?»¹

In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally «set to drift»² in an endless scrolling motion. The elements in each composition vary over time without ever reaching a final form.

Visual artifacts remind of analog electronics. Feedback loops undermine the accuracy of digital technology. As time passes, it is increasingly difficult to recognize the original composition: frame after frame, cycle after cycle, the image is dissolved into a landscape of liquid forms and oversaturated colors.

After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes.

Drifting, la «dérive»³, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of self–discovery.

(1) 𝘚𝘶𝘱𝘊𝘳 𝘀𝘰𝘮𝘱𝘶𝘵𝘊𝘳 𝘏𝘈𝘓9000 𝘪𝘯 𝘀𝘰𝘯𝘷𝘊𝘳𝘎𝘢𝘵𝘪𝘰𝘯 𝘞𝘪𝘵𝘩 𝘋𝘢𝘷𝘊 𝘉𝘰𝘞𝘮𝘢𝘯 («2001: 𝘈 𝘚𝘱𝘢𝘀𝘊 𝘖𝘥𝘺𝘎𝘎𝘊𝘺», 𝘚. 𝘒𝘶𝘣𝘳𝘪𝘀𝘬, 1968). (2) «𝘋𝘳𝘪𝘧𝘵𝘪𝘯𝘚» 𝘪𝘎 𝘢𝘭𝘎𝘰 𝘢 𝘵𝘊𝘀𝘩𝘯𝘪𝘲𝘶𝘊 𝘶𝘎𝘊𝘥 𝘪𝘯 𝘊𝘢𝘳𝘭𝘺 𝘷𝘪𝘥𝘊𝘰 𝘢𝘳𝘵: “𝘣𝘺 𝘢𝘭𝘵𝘊𝘳𝘪𝘯𝘚 𝘵𝘩𝘊 𝘵𝘪𝘮𝘪𝘯𝘚 𝘱𝘶𝘭𝘎𝘊 𝘰𝘧 𝘵𝘩𝘊 𝘎𝘪𝘚𝘯𝘢𝘭, [
] 𝘢𝘯 𝘪𝘮𝘢𝘚𝘊 𝘀𝘰𝘯𝘵𝘪𝘯𝘶𝘰𝘶𝘎𝘭𝘺 𝘥𝘳𝘪𝘧𝘵𝘊𝘥 𝘩𝘰𝘳𝘪𝘻𝘰𝘯𝘵𝘢𝘭𝘭𝘺” («𝘕𝘰𝘵𝘊𝘎 𝘵𝘰𝘞𝘢𝘳𝘥 𝘢 𝘩𝘪𝘎𝘵𝘰𝘳𝘺 𝘰𝘧 𝘪𝘮𝘢𝘚𝘊-𝘱𝘳𝘰𝘀𝘊𝘎𝘎𝘊𝘥 𝘷𝘪𝘥𝘊𝘰», 𝘓. 𝘍𝘶𝘳𝘭𝘰𝘯𝘚, 1970). (3) 𝘍𝘳𝘊𝘯𝘀𝘩 𝘞𝘰𝘳𝘥 𝘧𝘰𝘳 «𝘥𝘳𝘪𝘧𝘵» (𝘎𝘊𝘊 𝘢𝘭𝘎𝘰 «𝘛𝘩𝘊𝘰𝘳𝘪𝘊 𝘥𝘊 𝘭𝘢 𝘥𝘊𝘳𝘪𝘷𝘊», 𝘎. 𝘋𝘊𝘣𝘰𝘳𝘥, 1956).

Art 칎테고늬
계앜 죌소0xa7d8...d270
토큰 ID286000200
토큰 표쀀ERC-721
첎읞Ethereum
마지막 업데읎튞1년 전
제작자 수익
7.5%

Drifting #200

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제작자 simondemai
제작자 simondemai

«𝘌𝘷𝘊𝘳𝘺𝘵𝘩𝘪𝘯𝘚'𝘎 𝘳𝘶𝘯𝘯𝘪𝘯𝘚 𝘎𝘮𝘰𝘰𝘵𝘩𝘭𝘺, 𝘢𝘯𝘥 𝘺𝘰𝘶?»¹

In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally «set to drift»² in an endless scrolling motion. The elements in each composition vary over time without ever reaching a final form.

Visual artifacts remind of analog electronics. Feedback loops undermine the accuracy of digital technology. As time passes, it is increasingly difficult to recognize the original composition: frame after frame, cycle after cycle, the image is dissolved into a landscape of liquid forms and oversaturated colors.

After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes.

Drifting, la «dérive»³, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of self–discovery.

(1) 𝘚𝘶𝘱𝘊𝘳 𝘀𝘰𝘮𝘱𝘶𝘵𝘊𝘳 𝘏𝘈𝘓9000 𝘪𝘯 𝘀𝘰𝘯𝘷𝘊𝘳𝘎𝘢𝘵𝘪𝘰𝘯 𝘞𝘪𝘵𝘩 𝘋𝘢𝘷𝘊 𝘉𝘰𝘞𝘮𝘢𝘯 («2001: 𝘈 𝘚𝘱𝘢𝘀𝘊 𝘖𝘥𝘺𝘎𝘎𝘊𝘺», 𝘚. 𝘒𝘶𝘣𝘳𝘪𝘀𝘬, 1968). (2) «𝘋𝘳𝘪𝘧𝘵𝘪𝘯𝘚» 𝘪𝘎 𝘢𝘭𝘎𝘰 𝘢 𝘵𝘊𝘀𝘩𝘯𝘪𝘲𝘶𝘊 𝘶𝘎𝘊𝘥 𝘪𝘯 𝘊𝘢𝘳𝘭𝘺 𝘷𝘪𝘥𝘊𝘰 𝘢𝘳𝘵: “𝘣𝘺 𝘢𝘭𝘵𝘊𝘳𝘪𝘯𝘚 𝘵𝘩𝘊 𝘵𝘪𝘮𝘪𝘯𝘚 𝘱𝘶𝘭𝘎𝘊 𝘰𝘧 𝘵𝘩𝘊 𝘎𝘪𝘚𝘯𝘢𝘭, [
] 𝘢𝘯 𝘪𝘮𝘢𝘚𝘊 𝘀𝘰𝘯𝘵𝘪𝘯𝘶𝘰𝘶𝘎𝘭𝘺 𝘥𝘳𝘪𝘧𝘵𝘊𝘥 𝘩𝘰𝘳𝘪𝘻𝘰𝘯𝘵𝘢𝘭𝘭𝘺” («𝘕𝘰𝘵𝘊𝘎 𝘵𝘰𝘞𝘢𝘳𝘥 𝘢 𝘩𝘪𝘎𝘵𝘰𝘳𝘺 𝘰𝘧 𝘪𝘮𝘢𝘚𝘊-𝘱𝘳𝘰𝘀𝘊𝘎𝘎𝘊𝘥 𝘷𝘪𝘥𝘊𝘰», 𝘓. 𝘍𝘶𝘳𝘭𝘰𝘯𝘚, 1970). (3) 𝘍𝘳𝘊𝘯𝘀𝘩 𝘞𝘰𝘳𝘥 𝘧𝘰𝘳 «𝘥𝘳𝘪𝘧𝘵» (𝘎𝘊𝘊 𝘢𝘭𝘎𝘰 «𝘛𝘩𝘊𝘰𝘳𝘪𝘊 𝘥𝘊 𝘭𝘢 𝘥𝘊𝘳𝘪𝘷𝘊», 𝘎. 𝘋𝘊𝘣𝘰𝘳𝘥, 1956).

Drifting by Simon De Mai collection image

Art Blocks Collection: Presents

Heritage Art Blocks Collection: Playground

Project Description: «𝘌𝘷𝘊𝘳𝘺𝘵𝘩𝘪𝘯𝘚'𝘎 𝘳𝘶𝘯𝘯𝘪𝘯𝘚 𝘎𝘮𝘰𝘰𝘵𝘩𝘭𝘺, 𝘢𝘯𝘥 𝘺𝘰𝘶?»¹

In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally «set to drift»² in an endless scrolling motion. The elements in each composition vary over time without ever reaching a final form.

Visual artifacts remind of analog electronics. Feedback loops undermine the accuracy of digital technology. As time passes, it is increasingly difficult to recognize the original composition: frame after frame, cycle after cycle, the image is dissolved into a landscape of liquid forms and oversaturated colors.

After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes.

Drifting, la «dérive»³, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of self–discovery.

(1) 𝘚𝘶𝘱𝘊𝘳 𝘀𝘰𝘮𝘱𝘶𝘵𝘊𝘳 𝘏𝘈𝘓9000 𝘪𝘯 𝘀𝘰𝘯𝘷𝘊𝘳𝘎𝘢𝘵𝘪𝘰𝘯 𝘞𝘪𝘵𝘩 𝘋𝘢𝘷𝘊 𝘉𝘰𝘞𝘮𝘢𝘯 («2001: 𝘈 𝘚𝘱𝘢𝘀𝘊 𝘖𝘥𝘺𝘎𝘎𝘊𝘺», 𝘚. 𝘒𝘶𝘣𝘳𝘪𝘀𝘬, 1968). (2) «𝘋𝘳𝘪𝘧𝘵𝘪𝘯𝘚» 𝘪𝘎 𝘢𝘭𝘎𝘰 𝘢 𝘵𝘊𝘀𝘩𝘯𝘪𝘲𝘶𝘊 𝘶𝘎𝘊𝘥 𝘪𝘯 𝘊𝘢𝘳𝘭𝘺 𝘷𝘪𝘥𝘊𝘰 𝘢𝘳𝘵: “𝘣𝘺 𝘢𝘭𝘵𝘊𝘳𝘪𝘯𝘚 𝘵𝘩𝘊 𝘵𝘪𝘮𝘪𝘯𝘚 𝘱𝘶𝘭𝘎𝘊 𝘰𝘧 𝘵𝘩𝘊 𝘎𝘪𝘚𝘯𝘢𝘭, [
] 𝘢𝘯 𝘪𝘮𝘢𝘚𝘊 𝘀𝘰𝘯𝘵𝘪𝘯𝘶𝘰𝘶𝘎𝘭𝘺 𝘥𝘳𝘪𝘧𝘵𝘊𝘥 𝘩𝘰𝘳𝘪𝘻𝘰𝘯𝘵𝘢𝘭𝘭𝘺” («𝘕𝘰𝘵𝘊𝘎 𝘵𝘰𝘞𝘢𝘳𝘥 𝘢 𝘩𝘪𝘎𝘵𝘰𝘳𝘺 𝘰𝘧 𝘪𝘮𝘢𝘚𝘊-𝘱𝘳𝘰𝘀𝘊𝘎𝘎𝘊𝘥 𝘷𝘪𝘥𝘊𝘰», 𝘓. 𝘍𝘶𝘳𝘭𝘰𝘯𝘚, 1970). (3) 𝘍𝘳𝘊𝘯𝘀𝘩 𝘞𝘰𝘳𝘥 𝘧𝘰𝘳 «𝘥𝘳𝘪𝘧𝘵» (𝘎𝘊𝘊 𝘢𝘭𝘎𝘰 «𝘛𝘩𝘊𝘰𝘳𝘪𝘊 𝘥𝘊 𝘭𝘢 𝘥𝘊𝘳𝘪𝘷𝘊», 𝘎. 𝘋𝘊𝘣𝘰𝘳𝘥, 1956).

Art 칎테고늬
계앜 죌소0xa7d8...d270
토큰 ID286000200
토큰 표쀀ERC-721
첎읞Ethereum
마지막 업데읎튞1년 전
제작자 수익
7.5%
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