3rd Wave of Inspiration
Since 2003
Tito Merello Vilar is an architect in Barcelona and a digital illustrator. He often creates many digital artworks on an iPad.
He is the type of artist who seizes the moment, trapped in “la tranquilidad” and the serenity of the golden hour sunlight.
Every creator has a distinct voice and unique tale in the vast universe of art. Eugenia Shchukina, an artist, has been making waves in the contemporary art scene and garnering attention. An artist of exceptional calibre, Schukina's work navigates the intricate labyrinth of the human psyche, striking a balance between realism and pop-surrealism.
Eugenia uses classique techniques to create her captivating art, preferring dry pastels on paper. Her works often find their way into private collections around the world.
At the heart of Schukina's artistry lies an exploration of the human psyche's volatility. She explores the potential of reducing fears and illusions by analysing symbols and interpreting various aspects of personality using contemporary artistic perspectives.
Eugenia’s artwork often features the moth, a representation of our elusive fears and intricate emotions. Her pieces suggest that these aspects, much like the delicate and unpredictable moth, persistently exist within us.
The Spectacle, The Tragedy, The Passion
The world is fortunate to witness the combined talents of husband and wife artists Darren and Trisha Inouye, who undertake the moniker of Giorgiko.
As creators with distinct artistic identities who met at the esteemed Art Center College of Design in Pasadena, California - Trisha's passion for drawing intermingles effortlessly with Darren's fervent dedication to street art. This blending has created an extraordinary form that splendidly merges traditional painting techniques with modern urban influences derived from street art culture.
Their extraordinary creations have made a global impact by bringing individuals and landscapes caught in temporal displacement to life - all while passionately exploring themes encompassing dislocation, empathy, and purity from profoundly innocent yet intricately nuanced perspectives. The vibrant universe curated by Giorgiko resonates deeply within us as it magnifies our longing for sanctuary while traversing an uncertain world.
From March 15 to 16, 2023, the Moscow gallery Glubina hosted the exhibition "Forgotten Landscapes," curated by Narmina Askerova. This large-scale artistic event brought together works from 14 visual artists and photographers, along with a grand conceptual audio-literary performance titled "Lost in Between" by artist and writer Elena Timokhina. "Forgotten Landscapes" was dedicated to the artistic exploration of the existential rift between humanity and nature in the broadest sense. The participants in the exhibition, upon discovering this rift, took on various roles: explorers of the rift, apologists of the rift, mourners for the eras preceding this rift, researchers of the rift, and so on. The distance between modern humanity and nature turned out to be a rich field of potential meanings, a mystery, and a resource for drawing both inspiration and despair. "Forgotten Landscapes" serves as a multifaceted manifestation of the inevitable separation, where the positions and roles of people and natural phenomena are interchangeable and elusive, attempting to comprehend the irreversibility of this rift as both a socially nostalgic and eschatological phenomenon. Although the entire event represented a captivating cascade of artistic and performative delight, in this article we would like to focus on four participants who, in our opinion, realised the most distinctive and bold artistic concepts.
The reflection of the sprawling branches of an autumn leafless tree on a thin layer of water resting on some object in an urban environment. Ripples spreading from raindrops. Sandy park soil. Photographer Victoria Skutina sees the meaning of the rift between humanity and nature in the endless multiplication and deformation of reflections. According to her artistic concept, this rift has arisen due to the fundamental geometric difference between human-made fruits and those of the natural environment. Where nature is complex, fractal, and resists being divided into Euclidean primitives, the human dimension gravitates toward local, predictable forms and images. Of course, Skutina goes beyond merely observing that the surrounding environment is unconsciously complex, while human creation is consciously simple; nonetheless, this is an important assertion. Through her mesmerising and razor-sharp works, the photographer illustrates that this binary opposition exists but seemingly overcomes itself through the effect of one pole's reflection in another. A tree growing by itself can be mirrored on an ugly iron or concrete circle performing obscure social functions. The reflection of the tree is ephemeral, becoming a projection of one world onto another. Yes, this projection can easily lose its clarity with the breeze or a sudden downpour. However, it also signifies that the rift is theoretically surmountable or that it can be reconstructed by focusing on other, less noticeable connections between things and worlds.
According to Kseniia Chumakova, the main point of conflict in the rupture between nature and humanity lies not in creating a parallel "human ecosystem" in opposition to the natural habitat. It goes deeper and finds this rupture primarily in humanity's refusal to closely examine what surrounds them. It seems as if humans have fundamentally chosen not to contemplate natural things and to ignore what they do not understand within them. The rupture occurred when humans began to see in nature only what they chose to see. Consequently, Kseniia Chumakova's artistic project appears to be based on restoring to humans the motivation and time to contemplate nature. Her photograph "Nature" is both simple and complex, modest and provocative, compelling one to gaze into it. It seems to insistently exclaim, Identify me! Classify me! Find an explanation for me! This insistence emanating from the concise image of natural texture resembles the calls of New Age coaches demanding a break from the automatism of everyday life. Yet, Kseniia Chumakova also deconstructs this approach. She respectfully acknowledges that the human psyche optimises processes. Her works do not call for total mindfulness, grounding in bodily processes, or working with blind spots. On the contrary, she constructs meditative attractions that should work if not instantly, then in a very short time, rather than becoming a painful ordeal of yet another self-proclaimed course on transforming life in 21 days.
Yuri Kurganski is not only a talented digital artist but also a remarkable combination of ironic softness and romanticism. Where other artists become sarcastic and cut through the truth, he seeks opportunities to nurture lyricism, pastoral beauty, and humanity. His vision of the rift between nature and humanity is the most extravagant and touching. In his works, especially in “Autumn Jungle,” he comes to the realisation that it is not humanity that has severed its ties with nature but rather nature that has withdrawn into the shadows. Nature, not humanity, initiates the separation. The silent nature is both a mysterious, estranged figure and a mother all at once. Nature is present here, and yet it is absent at the same time. Nature has allowed humans to separate, but it continuously reminds them of its presence through traces and messages. The image of a glowing—almost biblical—tree amidst a dark artificial park, which resembles more of a model or a box filled with plastic trees, inexplicably stirs the heart and contains a powerful critical charge. This critique is subtle, non-obligatory, and indirect, yet it strikes directly at the mark. The rift exists; it is a paradigmatic event, but Yuri Kurganski seems to express on behalf of humanity that yes, we are still not ready for a complete break. We are probing at the unhealed wounds of our bodies and souls; we recall the golden age, but in truth, we have lost it not due to our own fault.
Elena Timokhina operates through a radical and breathtaking amalgamation of performative techniques: physical absence, deconstruction of verbal flow, semantic ambiguity, and post-dramatic structures. However, she does not deny the theme of rupture; instead, she complicates it, finding new depths and possibilities. Her performance becomes a crucial meta-commentary on the exhibition in particular and the global artistic process in general. Elena Timokhina conceptually chose to dwell in the interdisciplinary gap, yet she appropriates this rupture, which means she does not divide herself into human, nature, artist, performer, and writer. The main value of her work lies in the radical acceptance of herself and her lacunae. Her practice outlines new horizons for contemporary art and modern literature, horizons that are daunting to explore, but we must.
The key event of the two-day event "Forgotten Landscapes" was the audio-literary performance "Lost in Between" by writer, artist, and performer Elena Timokhina. This processual, meditative, and cross-genre work combined sound design, spoken word, and immersive participatory practices. The performance literally bridged the exhibition space, conceptual poles, the audience as a liminal entity, and the gallery space. Through her performance, Elena Timokhina summarised one of the main yet unspoken discoveries in understanding the rift between humanity and nature—within this rift, there are also fractures. This non-trivial idea arises in other gaps, in the divides between the possibilities of artistic mediums, in the divides between artists who seem united by the collective body of the exhibition but localised within their personal bodies.
Metaverse Greenhouse, Mat Collishaw and Danil Krivoruchko, Heterosis, 2023 © Snark.art
Heterosis - the increase in such characteristics as size, growth rate and yield of a hybrid organism over those of its parents.
Snark.art, the innovation laboratory supporting artists creating at the cutting edge of art and technology, announces Heterosis, a new series of digital artworks and an immersive metaverse experience by Mat Collishaw. Created in collaboration with digital artist Danil Krivoruchko and metaverse architect EL-GABAL, Heterosis is a project produced for the OG.Art platform which combines blockchain technology and art to create a unique experience for collectors.
Heterosis will see participants cultivating and breeding virtual flowers that grow in a hyperrealistic metaverse ‘greenhouse’ – a digital recreation of a grandly decorated wing of London’s National Gallery, abandoned and reclaimed by nature. Each flower will be a one-of-a-kind, unduplicable digital artwork, but the works, both individually and collectively, become meaningful via the community that is created. Based on innovative technology, Heterosis invites collectors to participate in an art ‘game’ where their interaction determines the outcome of the works. The participatory nature of Heterosis means the artwork could not exist in any context other than on the blockchain.
Mat Collishaw and Danil Krivoruchko, Heterosis, 2023 © Snark.art
Upon minting, each collector receives a Heterosis flower with unique DNA code and the combination of a few basic traits. Through hybridisation, collectors can discover advanced characteristics or mutations, and unlock new species, colours, patterns and forms. Their actions and engagement with one another will determine how the creation of new species and increasingly exotic and elaborate blooms unfolds. They become the agents of digital evolution and digital art collaborators.
Mat Collishaw and Danil Krivoruchko, Heterosis, 2023 © Snark.art
The digital flowers have been developed using SideFX’s Houdini – a powerful 3D animation and visual effects tool used in blockbuster films, commercials and video games – and are rendered on Redshift. Uniquely, the hyperrealistic flowers are created via a process of hybridization that is not predetermined, requiring advanced technology to generate the dynamic content. The metaverse ‘greenhouse’ was developed using Unreal Engine, the state-of-the-art gaming technology to allow collectors to interact with one another and freely explore the environment no matter where they are in the world. The technology means they can have an interactive, collective experience on any device with exceptionally high-quality visualisation.
Mat Collishaw and Danil Krivoruchko, Heterosis, 2023 © Snark.art
To hybridize, collectors must pay the flower’s owner a breeding fee. Collectors themselves set the prices for hybridization which can reflect if significant resources have been spent to create a new rare and exciting combination of genes. These dynamics create two separate markets – one for the purchase digital flowers and another for selling the opportunity to hybridize your flower.
Mat Collishaw and Danil Krivoruchko, Heterosis, 2023 © Snark.art
Heterosis builds on Collishaw’s practice and cross-disciplinary approach which sees him engage with developments in technology and unafraid to venture into unfamiliar terrain. He says of the collaboration:
“I wanted to create an artwork that could not exist in any context other than the metaverse. The digital network that forms the basis of Heterosis allows all the participants and components to come together, bringing the artwork to fruition. The fact that the work can evolve through time, depending on what the owner will or won’t do, was something very interesting for us. Danil managed to encode all the different traits into DNA and designed an evolution process. These mechanics, are essential to the Heterosis project and are especially valuable to us as something that’s possible only in a decentralized space”
Mat Collishaw and Danil Krivoruchko, Heterosis, 2023 © Snark.art
“This is the most complicated digital art collection I have ever worked on. Mat wanted Heterosis NFTs to be real flower species. A real life reference, which is super complex on the one hand and so familiar to everyone on the other, meant that even the goal of achieving a photorealistic visual was technologically very complex”
Since 2012, Kim has been working with digital software to develop a visual language of shifting multidimensional gradients that explore the interconnectivity between physical and digital consciousness. Previewed at our solo booth presentation at Art SG in Singapore, SuperBlue v.3 creates a digital Zen experience, using visual guides and healing sound frequencies to encourage a meditative state.
It is a digital meditation experience that uses visual guides and healing sound frequencies to create a meditative state. The collection of 100 NFTs is created by Krista Kim and Efrén Mur, with music by Ligovskoï.
Every edition in this release comes with an accompanying Infinite Objects physical display screen
For the 2023 edition of ART SG in Singapore, Unit London presents a solo exhibition of new digital and VR artworks by pioneering artist Krista Kim.
Undoubtedly, talent is 99% of sweat and 1% of genius. Exploring Grisha’s works proves this many times, bringing joy and delight by just looking at them. The attention to detail is beyond compare and the speed paint skills (you can watch below) are just mind-bending.
Grisha has full success on Tiktok and recently landed on the NFT scene with full potential to shine bright like a prodigy
Self-taught ballpoint pen artist and conceptual self portrait photographer Adewale Mayowa shares amazing talent and skills through the NFT journey
Southeast Asia-based British environmental artist Justin Bateman creates outstanding artworks by using only pebbles found on beaches. Please read the full Forbes interview on how he went from classic British art education to finding his own inspiration on the faraway beaches
What would the Sagrada Familia look like if it was finished? Imagine a full circle Colosseum... Dutch artist duo DRIFT has been working to improve their drone software to create real-life, life-size renders to visualise the improbable.
DRIFT works together with a multi-disciplinary team of 64 on aerial sculptures, installations and performances. All individual artworks have the ability to transform spaces. The confined parameters of a museum or a gallery does not always do justice to a body of work, rather it often comes to its potential in the public sphere or through architecture.
In 2017 DRIFT made their first performative art installation named Franchise Freedom. This drone show premiered at Art Basel Miami 2017, followed by performances all over the world. Besides this performative art installation DRIFT produced many more, with which the world is well known.
In collaboration with the company Drone Stories and Nova Skystories, DRIFT has used their drone technology since 2020 to reimagine the future of architecture. It is the aim to assist architects to bring their future projects to reality in a mesmerising yet sustainable way, visualising what this life size would look like.
The Kumari tradition has existed in Nepal since the 17th century. For centuries, little girls aged 3–5 years have undergone strict selection to become the earthly embodiment of the goddess Taleju. Once the selection is made, the girl moves to live in the Kumari Palace and becomes an object of worship.
The child's life is put on a social and domestic pause: there is almost no communication with peers, games, entertainment, or household duties. And so it remains until adolescence. With the first menstruation, it is believed that the goddess leaves the girl's body and it is time to choose a new Kumari. In one day, a child isolated for years returns to ordinary life.
But no matter how sacred may try to dominate the earthly, behind every tradition stand personal stories. It is precisely on these stories that Natalia Maiboroda focuses attention in her documentary photo series The Living Goddess.
The entire focus is concentrated on the life of a child who finds themselves between two worlds: the human and the sacred. For the photographer, the tradition is important in the context of human life and how it affects a person.
In the frames, we see one story of three heroines: five-year-old Kumari Nihira, twelve-year-old former Kumari Matina, and sixty-year-old Nanimay. Through their lives, the viewer sees how the tradition affects a person's fate.
While other girls dream of becoming Kumari, the little goddess sits alone in a room whose entrance is forbidden outside of religious ceremonies. The sacred status unexpectedly turns out to be not a gift of fate, but a job with strict conditions.
Isolation is felt at the level of composition: the girl is in the depths of the room, practically hidden by darkness from the outside world.
One of the most striking techniques in the series is the juxtaposition of an ordinary childhood and the life of Kumari. In Kathmandu, the goddess's palace is located directly opposite a school. Physically there are just a few meters between them, but tradition creates an insurmountable distance. Freedom and solitude end up on opposite sides for many years.
Quite literally, color runs like a red thread not only through the frames, but also through the lives of the heroines. Red is the color of Kumari, a symbol of the sacred. We see it in clothing, Nanimay's portrait, details, and close-ups.
Even after years and decades, we see a trace of tradition and its presence in the lives of former Kumaris.
In Natalia's frames, objects also find their own voice: a portrait behind the former Kumari's back, which tells of the times when she was considered a living goddess; a family photo album that hints at a story. The past and present exist in one frame and one reality.
The Living Goddess series is a deep conversation about traditions, children's rights, social roles, social pressure, the sacred and its influence on human personality.
This dialogue extends far beyond Nepalese culture. The series poses many questions to contemporary society, in which children often remain defenseless before adults and their conceptions of life.
He Jiaying (b.1957) is a contemporary Chinese painter known for his distinctive figurative works. His unique ink-wash depictions of female nudes fuse traditional Chinese and Western techniques. The artist continues to live and work in Tianjin, China.
Waves meditates on its titular phenomena as the fundamental elements of change in digital and physical systems; waves merge, waves disrupt, and, if synchronized enough, they acquire system-shifting force. Cultural shifts, spiritual breakthroughs, and wi-fi connections can all be better understood as products of the interactions of waves. As physical and digital systems become less and less distinct, the ability to acknowledge similarities between the two can make our everyday thoughts more creative.
Maxim’s broader oeuvre is built on conceptual investigations of the building blocks of physical and digital worlds. Each work is an effort to transform a fundamental principle of creation into a rousing spectacle.
“It is fascinating how structures could be assembled by themselves,
following the basic underlying rules of our world. Any material, including living matter, forms using the
same set of rules, and I think that this is something that we take for granted, but it is truly astonishing
when you think about it.”
““[W1 Curates is] a public art platform dedicated to bridging the gap between digital art and the traditional art world. Maxim’s artwork lends itself so well to our space, and it’s an honour to share new work from a true pioneer of digital art who remains so passionate about
the potential of virtual worlds.”
A wave— a disturbance of the established order — encompasses dynamics as an inherent part of our world. Waves bring the change, oscillations, and fluctuations, which spread across objects and connect them to entangled networks of all interrelated and continuous events. Inseparable from distortions, they are themselves messages that indicate transformations and shifts.
Waves are primary signals permeating the world and a universal language of nature that underlies both our biological and technological systems. By covering the world with webs of electromagnetic signals, we have expanded our neural systems and can now connect with others able to decipher the coded messages. Interfering and merging, waves change their nature and — when synchronized — grow and transform into a greater entity with the potential to generate a transformative flux.
Connecting particles into mighty flows, Waves is an examination of shifts of energy in complicated systems that lead to the inevitable transformation of those systems. Simulated by an algorithm, the world of this digital artwork is intentionally simplistic and therefore inextricably predictable. However, the rules and principles of this visual complexity are hidden from the viewer, much like the incomprehensible quantum phenomena that define the physical world.
The only thing certain about our world is that it is changing constantly. Nevertheless, eternal movement includes repetition, and transformation is cyclical. Between extremes of peaks, no path is linear, and every shift echoes across time.
Maxim Zhestkov (b. 1985) is a digital artist based in London. He merges his studies in architecture, sculpture, motion graphics, color, and sound, to dramatize the intersection of the digital and the physical as a critical site for imagining the aesthetic possibilities and psychological implications of a “phygital” reality. Working as an independent designer, Maxim has worked with clients like Adidas, IKEA, BMW, Google, Playstation and Adobe and has been awarded with many industry awards: a Red Dot Award, D&AD, iF Design Award and the ADC Award.
Maxim Zhestkov’s work has been presented internationally in shows at major institutions, including Decentral Art Pavilion Venice (2022), Unit London (2021), Contemporary Istanbul (2021), MIT (2019), Modern Art Museum, Shanghai (2019), and the Hermitage Museum (2019). Maxim’s work has also shown at contemporary art festivals, such as Cosmoscow (2021), ART021 (2020), ArtBasel Miami (2019), and Ars Electronica Festival (2018).
W1 Curates is a public art platform located at the heart of London’s iconic Oxford Street. W1 Curates showcases works from some of the world’s most innovative visual artists. Using state-of-the-art technology, the exterior of the Flannels London Flagship store has been transformed into an extraordinary public exhibition of art with digital prowess and exceptional innovation. The venue consists of a three-story facade of screens and, as of August 2022, an all-new exhibition space consisting of a 400 square-metre immersive gallery space lined with 360 degrees of bespoke LED screens.
W1 Curates has displayed work from the likes of Tracey Emin, Jeff Koons, Kaws, Shepard Fairey, Tyler Mitchell, David LaChapelle, Whisbe, Katherine Bernhardt, MrStarCity, David Bailey, Vhils, and many others. It has also collaborated with the likes of Gagosian, Sotheby’s, Saatchi Yates, Tate Modern, and Artsy. W1 Curates has also hosted Ravensbourne University London, NFT UK, Amplifier Art, and Graduate Fashion Week.
Jose Lopez Vergara was born in Mexico City in 1994 and raised in Madrid, Spain. In 2003 he had an accident that permanently impaired the movement of his right arm. During a long recovery period he was encouraged to cultivate his interest in drawing and develop his innate artistic abilities. Jose spent his teenage years painting murals with spray paint and creating hyper realistic drawings with coloured pencils. Having explored different creative paths, finally his interests led him to oil painting. He then went on to study classical drawing and painting from 2016 to 2021 in Florence and New York following a tradition that goes back to the Renaissance.
Vergara’s work centres on the search for an idealised representation of everyday life, current events and universal emotion. He’s influenced by art of many cultures of the past and present. Although his realist technique requires a strict methodology and rational thinking, his compositions rely on subconscious impulses and demand an abstract expression. His interest in the silhouette and minimal design plays a central role in his work and continues to open many paths for exploration.
The Idea for this artwork came to me in two stages. Whilst I was laying in bath, I saw in my mind three overlapping mirrors. This image ignited my curiosity but that alone didn’t feel complete. I don’t remember exactly how the second part of the idea came to me but I was laying in bath again. This time the thought of arrows with black and white feathers shot in overlapping gold frames with silver surfaces came to my mind. This idea was very exiting for me because I could see the symbolic, mythological and metaphorical references in it. When I was making the actual artwork and thinking about it I was feeling very inspired. “This work needs to exist”. For me, the whole process of receiving the idea, making it (in secret) and then finally exposing friends and family to it for the first time, was a very satisfying experience.
“I’ve noticed that when most people first encounter this artwork they need some time to process what they are looking at. Although the individual objects and materials are recognisable you don’t immediately realise what you are seeing or where in the work to focus your attention. The relative visual complexity of this piece is a metaphor for the complexity of reality and truth. Hence the title of the subject. Since everyone has an individual experience when they view the work, the subject matter, which is clearly about perception, and the experience of the viewer actually become one. In this way the viewers experience becomes part of the artwork itself. I have found that without actually informing people about what I think this artwork means, it inspires thought and conversation regarding what our experience of reality actually is.”
Seanen Middleton is a fine art and portrait photographer from the Lake District, England. Seanen's work has been published across the globe online and we cannot stay away from his depth of visual storytelling
Scott Prior is a painter who lives and works in Massachusetts. His paintings depict a world that is intimate, simple and personal, where objects are transfixed and transfigured by light.
“Art is the interweaving of events and a person experiencing them. And through these relationships, through the search for an answer to the question of who this Other is, life, connection, and beauty manifest. The most important thing is the space between me and the Other. Meeting with another is always an event, an opportunity to experience it together as equals.”
Hetaera Psappha is a video artist born in Moscow in the waning years of the Soviet era. Working all around the world, Lisa Minaeva (the artist’s real name) creates her wordless portraits in various places. Having started her project in London in 2012, she gathered over 100 portraits of artists, poets, musicians, and other people of different professions and backgrounds. After ten years of filming portraits, she feels more interested in it than ever.
A French actress sitting topless in a bathtub in Moscow; a young Indonesian woman looking at the camera with eyes full of tears in a hot Belgrade apartment; a celebrated Russian rapper squinting in the sun on a famous Saint Petersburg rooftop after an acoustic gig; a British painter, frozen in his chair, looking as if he’s about to attack – the Blossom of Silence project counts endless faces and hours of quiet contemplation. Being able to stop and look into another person’s eyes is a rare gift in a time of rapid news and information, and the lo-fi image created with a MiniDV camera helps the artist clear it of the filters we got used to so easily thanks to fashion magazines and Instagram. At times, the picture shakes and interrupts, and zooms in and out: leaving the footage “rough” is the artist’s committed position.
Initial idea was to “create a collection of the most beautiful people’s portraits”, and, therefore, remake a famous Andy Warhol work. However, the goal changed fast as Hetaera Psappha realized “beautiful” does not always mean “interesting to silently communicate with”, and vice versa. According to the artist, the key to “interest” stays unclear after all these years: while some portraits are more loved by the audience than others, she never knows beforehand if a portrait is going to work out well or turn out to be boring and “soulless”. It depends on many factors, where the openness of the model often stays the most important one.
Among many famous and unknown faces, one stands out – Alina happens to be the only person Hetaera Psappha filmed more than once. From the very first shooting, she became the artist’s muse, whom she decided to film every year. The colourful and unexpected evolution of a teenage girl through the troubles and transformations of her adolescence years is a curious experience, “a project within a project”. And it is not the only one – in 2016 Lisa created a special collection Silent Poets, especially for Poetronica festival of contemporary poetry, sound art and video art.
As Hetaera Psappha says, filming portraits with no words doesn’t just help her rest after working with texts and words, which is the other big part of her life as a poet and scriptwriter. It helps her feel, build and share with her audience connections, which cannot be broken by borders, political systems, religions, classes and backgrounds. In such a way, when watching her portraits, everyone is free to build an imaginary connection with any of her models and try to read the mystery hidden in their eyes. After all, the eyes are the mirror of the soul, as long as one suggests it exists. And if it does, observing them is a useful and enriching practice.
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Prominent artist Krista Kim is bringing Continuum art installation to cities worldwide to spread the movement of wellness, healing and humanity in the age of the Metaverse. Together with Times Square Alliance and YMU Arts they reinvented famous billboards to run Continuum through February each night starting 11:57PM.
“Krista Kim’s Continuum is a soothing visual meditation presented on a monumental scale. Synchronized across 90 electronic billboards, a slowly shifting gradient of color washes over Times Square, creating a moment of calm amidst one of the most visually kinetic places in the world.”
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