Traces is a collaborative project of conceptual artist Kim Asendorf and his wife Jana, who has been exploring the relationship between man and nature for many years.

A living image of nature and the traces mankind leaves behind. A rock, formed hundreds of millions of years ago; a plant evolving over millions of years. Both are symbols of nature untouched. Color symbolizes thousands of years of human impact on nature. Animation creates another level of traces to get lost within, an indefinite change of state, we can just stand by and watch. Photography is used explicitly as an act of digitization and as an extension of nature into the digital world. 

After Doppelgänger, artist and Quantum Art founder Justin Aversano’s groundbreaking NFT project, Traces is Kim's second foray into real time photography manipulation. The audience will enjoy a new aesthetic, one visually optimized to mesmerize. More importantly, Asendorf hopes this work will make the audience think about the traces they leave behind in the nature.

To view the full resolution artwork, just go to the following link and replace {TOKEN_ID} with the number of your piece.

`https://quantum.mypinata.cloud/ipfs/QmXEsmZAjEH9pa7ifDoViLSmqcKttiax716iXShyknGGCx/?token={TOKEN_ID}`

Traces

Math Art is the first NFT drop by Herbert W. Franke, forefather of media art. This 100 piece-collection is drawn from his iconic 80s series Math Art where mathematical investigation is translated into visual art, with a stunning variety of forms that is strikingly reminiscent of Pop Art.

License: https://quantum.mypinata.cloud/ipfs/QmUnSepLccUajd2kJi3hX7bFvzUuFHr39UUP1TTk9yHaaq


Math Art (1980-1995)

In Arclight’s newest body of work, LIMINAL SPACE, manipulated self-portraits and photographs of his brother take center stage in a series of digital paintings depicting the two young men involved in mundane activities: sipping coffee while listening to a good track, hanging out by a pool, calling a friend… The surreal treatment of these banal scenes inject a palpable feeling of nostalgia. 

Arrows and smileys symbolize a rollercoaster of emotions and disillusionment, while flowers convey his desire to bloom. Tigers embody his sense of being out of place, since the animals are not native to the African continent.

Arclight made those 20 unique pieces in an agitated period where time seems suspended until the upcoming elections: the artworks from LIMINAL SPACE invite the viewers to reminisce about brighter days. 

LIMINAL SPACE

In ancient Persian literature, ماه طلعت (Moon-faced) was a genderless adjective used to define beauty in both men and women. In contemporary Iran, it refers to the beauty of women only.

In the world of images, something similar happened to the Qajar dynasty portrait paintings: the modernization of Iran, the influence of the European tradition of realistic painting, and the use of camera technology and therefore photography as a model, overshadowed and ended the queer representation of genders that historically characterized these paintings, largely known for their gender-undifferentiation. For her project, “ماه طلعت Moon-faced” Allahyari uses a carefully researched and chosen series of keywords with a multimodal AI model to generate a series of videos from the Qajar Dynasty painting archive (1786-1925). Through this collaboration, the machine program learns to paint new genderless portraits, in the effort to undo and repair a history of Westernization that ended the course of nonbinary gender representation in the Persian visual culture. The music in this video was composed by Mani Nilchiani.

ماه طلعت / Moon-faced

The Artist

The Story