3D – Metaverse – VR – Art Fair | MESH

The MESH environment is a collaboration between architect Luke Escobar and metaverse art collective Vueltta.

Luke is a US based designer who explores how traditional architectural design thinking can improve space and experience in Decentraland. Constantly looking for real world metaverse applications, Luke is interested in how architecture firms can use the emerging medium as a design and presentation tool. In Decentraland, Luke’s 3D work focuses on minimalist forms, intentional details, smooth user experience, and the exploration of subtle surrealism via code and form.

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decentraland (54, 58)
stephanduq.com
@stephanduq

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V4W.ENKO is the pseudonym of Evgeniy Vaschenko, a Ukrainian artist working in the fields of live electronics, installation, sculpture, sound art and video art. His work is realised by manipulating self-programmed algorithms in real-time.

Evgeniy has participated and performed at a number of media festivals, such as FIBER, Ars Electronica, CynetArt, Mutek, Kvitnu, NextSound and others. He has released works on labels like Kvitnu, Electroton, Nexsound, JNN, FRAMED. Since 2011, he has run a label – the FF’Space, which is dedicated to algorithmic and abstract approaches in the arts of sound, visuals, design and micro-software development.

SPACE MODULES

“SPACE MODULES” is planned as an open space for parametric architecture design modules turned with its complicity of form to the abstract digital art piece. The forms are parametrically generated as procedure art and are backed into a collection of meshes contained in square modules.

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Hannes Hummel is an artist and designer based in Germany who explores the connection between contemporary technologies and traditional design practices. His work often draws inspiration from historical art movements, reimagined through the digital medium.

Hummel’s recent digital artworks focus on the complexity of organic structures – symmetry, tessellations, and patterns within patterns, thereby reinterpreting nature through a digital lens. His works have been exhibited in galleries worldwide and have received critical acclaim for their innovative approach and attention to detail.

Idle Hands

In stillness they lie, hands serene, A canvas waiting, untouched, unseen. Amidst the hush, a tale untold, Idle hands, the stories they hold.

Black paint strokes dance upon their skin, Capturing essence, a world within. With each stroke, a universe unfolds, Visions painted, stories untold. From depths of silence, masterpieces arise, Born of idle hands, where the beauty lies.

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Splitting his artistic endeavours between Berlin and Seoul, Mellowmann stands as a renowned figure in 3D, AI interactivity, and music. His signature style bursts with an orchestrated chaos of vibrant colors, serving as a playful tribute to the universal ‘inner child’ within us all.

Marvellous Meowies Wonderland

“Marvellous Meowies Wonderland” is Mellowmann’s vibrant fusion of AI, 3D artistry, and the 90s. His intention is to create a cybernetic dreamscape, where pixelated cats traverse the surreal planes.

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Melody Owen’s work spans multiple disciplines and mediums, including hand-cut and digital
collage, curation, video, photography, 3D building in and for VR, and site-specific installation. She is currently working in multiple virtual worlds as Pearl Hyacinth, and has been involved with the cleanNFT community since March 2021.

Melody’s interests centre around the intersection of technology, the environment, and zoosemiotics. She is particularly concerned with the rapid destruction of the environment and how animals are often overlooked as subjective beings with their own embodied languages and perceptions of reality. She hopes that recent developments in technology, especially virtual worlds and AI, will provide an opportunity to challenge normalized assumptions about “reality” and our place in the natural world.

The Volume of Language: FOXP2 AI

Pearl Hyacinth’s cube is filled with AI generations created from prompting animal and bird song sound waveform as architecture (which is Pearl’s thesis project), transformed into 3D digital objects. Pearl is also building other galleries and installations with 3D representations of Australian bird song voices as spheres and sound waveform architecture in other parts of the metaverse including; MONA, Voxels, New Art City, Hubs, and Hyperfy.

Info on sound:
Nari Sahukar – Dawn chorus recorded in Niagara Park, Australia

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Linda Loh is a visual artist working between NYC and Melbourne, Australia. Her multimedia works navigate the elusive form and materiality of digital space with transformed sources of light. In 2012 she received a BFA (Expanded Studio Practice) from RMIT University, Australia. She has had solo and group exhibitions around Australia and in the USA, with works curated into projection festivals, billboard projects, online events, screenings and art galleries.

Linda has undertaken artist residencies around the world, including NARS in NYC, in 2018. In 2021 she completed an MFA in Computer Arts, at the School of Visual Arts in NYC. Her work has since been included in international online projects, galleries and public screenings. In 2022 she was involved in an innovative curatorial project resulting in an exhibition at Untitled Miami.

Crack

Inspired by a photo of a long crack in the concrete floor of a modernist Brooklyn industrial building, and modelled in virtual reality with the gesture of the human hand/body, this wiggly form imposes its presence in the space from the floor to overhead. Its dense textural colours are in opposition to those of the iridescent-inspired environment. Along with the general lack of luminosity it is almost a jarring anti-aesthetic, announcing clearly, “not a white cube”.

This work marks a moment in the confluence of experiments with textures, materials, game engine software, virtual reality, 3D software, photography, sculpture, physical space (NYC), distant space, bodily space and non-space. It’s a piece of gestural fun inviting a walk past, through and above.

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Web3.0 artist warrragwag has a background in architecture and interiors that spans back to the late-1990s. Throughout his career, he has engaged various roles, ranging from CAD drafter to 3D visualizer and designer. Born and raised in the Philippines, his deep-rooted passion for hand drawing has always fueled his enduring aspiration to become an artist.

In March 2020, warrragwag fortuitously stumbled upon HicEtNunc, a platform on the Tezos blockchain, and commenced his artistic ventures within this innovative space. In July of that year he was accepted to the esteemed Vertical Crypto Art Residency and has remained an active cryptoartist ever since. Presently, warrragwag’s creations blend the realms of 3D, AI, and metaverse spaces. With an unwavering commitment to his artistic vision, he ardently upholds his mantra: “Make architecture weird again.”

Brutal Cubes

Within “Brutal Cubes”, a collection of diverse cubes occupies the space, seemingly moving in a random fashion. These cubes squish, shift, and rotate, evoking an appearance of both chaos and occasional elegance. Each cube is wrapped in a unique finish, thanks to generative AI, while remaining in harmony with the overall ensemble.

Visitors are invited to explore this captivating formation, wandering amidst the dynamic interplay of the cubes. To enhance the experience, carefully positioned ramps, stairs, or platforms allow visitors to access different heights, affording unique vantage points to observe the ever-changing composition.

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Martínez Siesta is a visual artist with a background in product and graphic design and art direction. With an artistic and conceptual approach, Martínez Siesta’s multidisciplinary practice has garnered recognition and awards.

As a photographer, Martínez Siesta’s work reveals the inherent beauty in everyday scenes, inviting viewers to appreciate the often overlooked moments of ordinary life. Through a keen eye for composition and a deep understanding of aesthetics, his artistry transcends boundaries, creating a visual narrative that resonates with audiences and challenges conventional perspectives.

A WHITE WALL IS NOT

“A WHITE WALL IS NOT” unfolds the artist’s extensive exploration of the profound interplay between color, light, and time. The installation emerged from a laborious archive of photographs, which capture the same white wall as it undergoes a kaleidoscope of transformations, contingent upon the day, hour, and season. Martínez Siesta dedicated countless hours to meticulously documenting the wall’s metamorphosis, resulting in a remarkable collection of images. Through this installation, Siesta invites us to embrace an immersive experience – to wander along the tunnel of time and witness the ever-changing spirit of the white wall, provoking introspection on the fluidity of our own existence.

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Mango is an experimental artist who seeks to express himself freely at all times. “I am for art the same thing that happened in the Sahara in 1979”.

333Mujer

333Mujer is in installation in which the cube itself is the piece that completes the work. Delicacy and weakness are enclosed within massive freedom. Giant feelings are enclosed within themselves

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Strokes of once what was

In “Strokes of once what was” MickRenders uses novel methods of digital sculpting in VR and in Nomad Sculpt with a subtractive sculpting methodology that he developed. The work explores novel low poly, future forms and sculptures.

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Michelle Brown (@thebadlament) is an Australian based new media artist exploring the intersection between technology and art, creating interactive installations, AR and VR experiences, public artworks and experimenting using blockchain.

Michelle’s work is heavily influenced by the rapidly evolving nature of technology, and she is constantly experimenting with new tools and techniques to create immersive, multi-sensory experiences that challenge traditional notions of art and audience participation.

Michelle has exhibited work internationally and around Australia, most recently launching the interactive VR project Floodplains XYZ in Paris, and her work has been featured at Sundance Film Festival, SXSW, Museum of Other Realities, Cannes XR.

Memphis Revisited

“Memphis Revisited” is inspired by the Memphis design aesthetic, the postmodern design movement from the 1980s. In collaboration with AI, the work features a range of textures generated, curated and experimented with by the artist to create a gallery of 3D shapes.

The centerpiece of the exhibition is the colorful room design, meticulously crafted with a combination of 3D shapes and geometric patterns. Every element within the space is thoughtfully chosen to evoke a sense of whimsy and creativity, reminiscent of the bold and energetic spirit of Memphis design.

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Dev Harlan works in sculpture, installation and digital media. His work explores a range of themes including landscape, anthropogenic change, posthumanism and technological consumption. Dev has exhibited in the US and internationally and has permanent commissions with corporate and private collectors.

Dev is a 2020 NYFA Fellowship Finalist in Digital Media Arts and winner of the 2022 Mozaik Artist Grant. Solo exhibitions include Christopher Henry Gallery (NY) and Gallery Madison Park (NY). Group shows include “Noor” at the Sharjah Art Museum, the New Museum’s “Ideas City” NY and the Singapore Light Art Festival. Dev has been an artist in residence at the Frank Lloyd Wright School Of Architecture and the SVA Sculpture / New Media Residency.

Crash / Sites

The main work featured in Dev’s cube “Crash / Sites” is Gale Crater with Copper Mine, a speculative model which sites Bingham Copper Mine on the surface of Mars. The famed Utah strip mine is the largest human excavation in the world and the site of one of Robert Smithson’s proposed land interventions. The Martian site, Gale Crater, is still being explored by NASA’s Curiosity Rover.

Thematically the exhibit reflects on the nascent traces of anthropogenic influence throughout the solar system while connecting to the dense, messy and complicated effects of the late Capitalocene. The work urges us to consider the deleterious effects of anthropogenic change and radical land use beyond Earth.

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Fade Away Bunny Bread

In Nyankee’s cube for MESH, Suutan the bunny has turned into bread. The bread looks cute and tasty but if you look carefully, you’ll notice that Suutan is suffering from Selective Eating Disorder as in her comic. She has only eaten her favorite “Caramel bread” every day for many years. Decorations inside the cube are those of a lovely small bakery, but Nyankee’s message towards greater eating disorder awareness is woven throughout.

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Lejin Fan (jin/范乐今) is an experimental visual artist and creative who revisits memories and cultures, blends physical and virtual worlds, and chases time with pixels. She manipulates the digital world and recreates found objects and self-images through photography, video, and video game. She was born and raised in Xiamen, China, and is currently based in Los Angeles and New York.

jin’s trilogy: air

“jin’s trilogy: air” is developed from the artist’s previous photography series “jin’s trilogy”. The artist manipulates her avatar to be an in-between of cell form and pixels through the massive use of self-imagery and digital post-production. In “jin’s trilogy: air”, The experiencer can travel through the low-poly shells of the artist’s body and use the body shells as their playground in an immersive space.

The installation examines the themes of self and avatar, time and experimentation, physical and virtual, and culture and reinvention. Jin intends to show her appreciation of how unintentionally and organically beautiful the glitches and meshes of a physical body could be. She also questions whether real life and media have now become a united whole.