REVELATIONS, 2022
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“How can we live if there is no more here and everything is now?”
—Paul Virilio, The Aesthetics of Disappearance
We live in a strange world, where we touch screens more often than the people we love. REVELATIONS is a series of works that moves between quiet absurdity and existential unease, examining how contemporary systems of automation shape artistic production, attention, and connection. Using text and image together, these works reflect shifting sentiments about how our tools influence digital identity, perception, and the ways we relate to one another. Social transactions and machine-driven processes are not just themes in the work—they are among its raw materials.
The series grows from a belief that, in order to be noticed, we increasingly mimic the steadiness of computational systems. Yet the more we rely on predictable methods, the more erratic the results often become. And while our tools inch toward being more “human,” we risk becoming less attuned to our own humanity.
Each piece begins with cloud-like forms generated through a text-to-image AI system. These amorphous shapes serve as symbols of anxiety and hope, while alluding to the digital “clouds” that store memory and mediate connection. Letters cut from each generated image are then digitally collaged back into the composition, forming messages that dissolve into the background. Viewers must slow down to parse each word. Individual works stand alone or link together, where truncated messages create call-and-response exchanges between artist and viewer—a murky narrative about existence, repetition, and the desire to communicate clearly in opaque systems.
Many texts in REVELATIONS appear unfinished or missing information, prompting the question: what exactly is being revealed? The word “revelations,” from the Greek apokalypsis, refers to an unveiling or awakening. In theology, revelation arrives through contact with a higher intelligence. Popular culture often casts artificial intelligence as the next such entity—omniscient, instructive, or prophetic. As we become increasingly dependent on automated systems for information, the question becomes: whose truth are we receiving—ours, or the machine’s?
Each title is enclosed in parentheses to suggest incompleteness or withheld context. For example, (ECO NO ME) plays on the sound of “economy,” hinting at artists’ anxieties around their roles in an accelerated digital art market. It also references “eco” as an abbreviation for ecology, pointing toward ongoing debates around the environmental impact of cryptocurrencies and NFTs.
The series uses a single monospaced font, Inconsolata—originally created for writing source code. I’m drawn to its dual nature: a typeface meant to be both unmistakable and invisible at once. Code, whether handwritten or generated, typically resides just below the surface, unseen but structuring everything around it.
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Artist smart contract created through Manifold.
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JPGs and metadata are stored on Arweave.
Image dimensions are 3000 x 4000 pixels.