196 nations and regions realised as gasoline spills on the world ocean.

Centering on a generative thin film refraction algorithm each country and region in Petro National reflects its per capita annual consumption of petroleum, with low-consumption countries and regions manifesting a very thin spill leaning towards the blue green spectrum to high-consumption countries and regions being thick, lustrous and highly iridescent forms. Society consumes 100 million barrels of oil every day with radically differing patterns between global north and south. 

Each broad consumption category in the works encompasses different atmospheric, wave and sea colour traits which are further affected by the minting seed address.

Petro National is a first webgl piece both online and onchain which extends my sustained work over two decades in game engines. These respond to historic intersections of energy and power. See Western Flag (Spindletop, Texas) 2017 as an example or visit johngerrard.net

Each of the 196 generated worlds runs on local time as dictated by the time zone of its capital city. Night, day and seasonality will be experienced across the year in the work with long days in summer and short in winter. Countries and regions are openly allocated to collectors upon mint. 

These are spatial worlds - click and drag on the scene to look around. Press R on a keyboard to slowly rotate the camera, O / P to zoom. G for full screen in generator mode.  

 For more information see :  https://www.pacegallery.com/journal/john-gerrard-petro-national/ 

Production credits. Producer : Werner Poetzelberger, Programmer : Helmut Bressler.

Petro National

The first component of a multidisciplinary project by A.A. Murakami, Floating World Genesis comprises 250 unique NFTs, each depicting one of three animated scenes chronicling the origins of life on Earth: a single microbial bubble that may split in two; clusters of self-organizing bubbles that represent the growth of multicellular life; and a single bubble situated on the horizon, signifying the formation of the Earth’s biosphere.

Inspired by the Miller-Urey experiment of 1953, which simulated conditions of the early Earth to explore how life first formed in the primordial oceans through self-organizing bubbles, the Floating World Genesis NFTs possess tranquil, meditative, hypnotic qualities often associated with minimalist painting and the Light and Space movement. Bubbles have been an enduring source of inspiration for A.A. Murakami, whose seminal work New Spring (2017) is an interactive, multi-sensory installation that produces mist-filled blossoms.

The formal dynamism of Floating World Genesis, which explores the kinetic possibilities of semi-abstracted bubbles, belies the project’s technical complexity and its wide range of generative effects. Opacities and diffusions of color vary among the NFTs, as do the shapes and positions of the bubbles. Clear bubbles depicted against gradation backgrounds feature refractions of light and color. Some of the NFTs are stereoscopic, allowing viewers to have a three-dimensional experience and immersing them in a world of buoyant, ethereal bubbles.

A.A. Murakami is known for creating immersive, sensorial installations as part of a long-standing exploration of natural phenomena and systems. With these concerns at the center of the duo’s practice, A.A. Murakami has pioneered the development of “ephemeral tech,” or technology that is experienced not through standard interfaces like screens, but through ethereal and shifting matter, facilitating fleeting but deeply meaningful in-person experiences. With the multifaceted Floating World Genesis series, the duo aims to further explore this concept through what it has termed the “mataverse,” a space between the physical and digital worlds. Through future Floating World Genesis projects, A.A. Murakami will investigate the possibilities of art that lives on the blockchain and engages all the viewers’ senses in immersive and tactile physical environments.

Floating World Genesis

Tara Donovan’s first-ever NFT project, titled QWERTY, comprises 500 unique, generative works that meditate on the ways that type can function as a building block for creating pattern. Donovan, whose practice spans sculpture, installation, drawing, and printmaking, often explores the talismanic qualities of everyday materials and objects. The artist’s new NFT series is deeply engaged with her screen drawings, in which she moves, pinches, and cuts the wires of woven aluminum insect screen to extract patterns from existing grids, using a mathematical methodology to draw out the phenomenological potential of the material.

Each NFT in Donovan’s QWERTY series depicts rhythmic, mesmeric arrangements of a single, repeating letter or symbol represented on computer keyboards. The 26 letters and 30 symbols that make up the layered, gridded compositions of the QWERTY NFTs are rendered in varying degrees of legibility, striking a balance between recognizability and obscurity. These screen-based images take on the qualities of woven textiles, and they are the result of the artist’s meticulous pattern development, organization, and refinement, which she executed through algorithmic processes.

The first 56 individuals to mint QWERTY NFTs will each receive an archival pigment print of their NFT from the artist and Pace Verso. These works will be signed by Donovan. Complete terms and conditions will be available on Pace’s website before the project’s release on October 10.

Donovan’s QWERTY NFT project can be understood as an extension of the eponymous book she published in 2018, which features patterns the artist forged using characters from a 1930s typewriter. Both the digital and physical iterations of QWERTY reflect Donovan’s interest in surface depth and perspectival mutability. Her QWERTY NFTs shapeshift and transform depending on viewers’ position relative to their screens, bringing ghostly shapes and figurative elements into relief in the compositions’ interstitial spaces. The wide range of patterns in the QWERTY NFTs includes subtle, minimalist grids; architectural forms; psychedelic motifs; and optical illusions.

QWERTY

Loie Hollowell’s first-ever NFT project, titled Contractions, comprises 280 unique, generative works that center on the artist’s embodied experiences with childbirth. Based on Hollowell’s Split Orb sculptural paintings, which she began creating following the birth of her second child, the Contractions NFTs feature two bifurcated orbs situated one on top of the other, with the top orb representing the artist’s brain and the lower orb signifying her pregnant belly and cervix. This new series brings Hollowell’s explorations of bodily landscapes—with a particular focus on sex, pregnancy, childbirth, and motherhood—to the digital realm. Contractions will be presented on Pace Gallery’s booth at West Bund Art & Design in Shanghai from November 10 to 13. As an extension of the project, Hollowell will create several new paintings of Contractions NFTs.

Hollowell, who has developed a distinctive iconography of geometric and organic forms as part of her painting and drawing practices, was the subject of a major solo exhibition at the Long Museum West Bund in Shanghai in 2021, and her solo show Loie Hollowell: Tick Tock Belly Clock continues through May 8, 2023 at the Manetti Shrem Museum of Art at the University of California, Davis. Her work can be found in the collections of the Los Angeles County Museum of Art; the Crystal Bridges Museum of American Art, Bentonville, Arkansas; the Hirshhorn Museum and Sculpture Garden, Washington D.C.; the Long Museum, Shanghai; the Centre Pompidou, Paris; the Stedelijk Museum, Amsterdam; and other international institutions. 

There will be 11 scenes in the Contractions NFT series: closed orbs signifying the final stage of pregnancy, just before childbirth, and orbs featuring one of ten set degrees of openings at their centers, representing each of the ten centimeters of cervix dilation required to begin the second “pushing” stage of labor. With variations in their hues, saturations, and textures, the orbs reflect, on a conceptual level, the artist’s shifting state of mind and body during childbirth, with each of the colors describing her ranging emotional states. 

The total NFTs in the Contractions series reflects the average number of days in a full-term pregnancy. The colors of these NFTs are drawn from a wide spectrum, from grayscale—which Hollowell has never previously incorporated in her work—to a vivid neon palette. The expansive possibilities of color in the NFTs situate Hollowell’s abstractions in a new light, influencing her approach to painting and drawing.

Contractions

Robert Whitman’s genesis NFT project, New Worlds, transports viewers to otherworldly, cosmic landscapes beyond the Earth. Each of the 500 generative, interactive, and unique New Worlds NFTs centers on an imagined celestial body in space. The planets—and, in some cases, black holes—feature distinctive colors, patterns, shadows, and topographies on their surfaces, and they are situated in vast skies rendered in varying hues, opacities, and gradients. Some planets in the series are surrounded by rings, and they may have up to three moons in their orbits. Viewers can navigate around the planets and explore their sublime environments by zooming in and out and dragging their cursors on the screen. New Worlds will be presented in Whitman’s upcoming solo show with Pace Gallery, on view at 508 West 25th Street in New York from January 18 to February 3.
 
The New Worlds NFTs are based on Whitman’s mesmeric projections of planets and moons, which he presented in his solo exhibition Turning at Pace in New York in 2007, as well as new images from the James Webb Space Telescope, which sent its first pictures back to Earth in 2022. A pioneer of performance and multimedia installation art, Whitman has been producing exploratory and collaborative work for more than 60 years. He was at the vanguard of scientifically and technologically engaged art making during this period, co-founding the Experiments in Art and Technology (E.A.T.), a collective that supported creative partnerships between artists and engineers, in 1967. Whitman was also major figure in the ephemeral Happenings—a hybrid art form spanning installation, performance, and other mediums—presented in New York in the late 1950s and early 1960s by a group of artists that also included Claes Oldenburg, Allan Kaprow, Jim Dine, and Red Grooms.

Whitman’s web3 debut reflects the limber and timeless nature of his influential and rigorous practice, which left an indelible mark on 20th century art history. As part of the artist’s forthcoming exhibition at Pace in New York, Pace Live, the gallery’s interdisciplinary platform for commissioning and presenting new live art performances, will stage live renditions of his seminal 1960 performance work American Moon. Whitman’s first NFT project can be understood in conversation with this disorienting, madcap performance, which premiered nearly a decade before the first moon landing. New Worlds, Whitman’s most technologically ambitious artwork to date, forges new through lines across the artist’s storied and experimental career, traversing his digital and physical investigations of universes beyond our own.

New Worlds are interactive and can be explored in 360 degrees and from varying vantage points by using a mouse or trackpad.

Art Blocks × Pace

New Worlds #339

Robert Whitman

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John Gerrard

Floating World Genesis

A.A. Murakami

QWERTY

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Contractions

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