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y00ts Yacht Club#5983

Larva Lads are a play on the CryptoPunks and their creators, Larva Labs. The artwork and metadata are fully on-chain and were randomly generated at mint.

Larva Lad #1383

RAW DAO

Wrapped Ether

SZN1 Mintooor

Newzztandz 061

A self-portrait from a personal project called "Guadalupe" where I explore the ways in which Mexico's Patron Saint has impacted my life.  
This image was made using my Contax T3 and shot with black and white film. 

A limited edition NFT.  Edition of 60. 

45 gifted to collectors of my Quantum season 2 drop.  
05 gifted to collectors of my genesis collection, HU$$LE  
10 available to the public.

Pasado, Presente, Futuro

For each day of the year from September 22nd, 2012 - September 21st, 2013, I photographed people celebrating their birthday with a Polaroid camera. The dated Polaroids represent everyone who shares that day of birth. This project recognizes equality of all living beings through the depiction of a primal phenomenon, which is mortality.

Every Day is a Gift - December 2nd

To the Moon and Never Back!

Meme: 2 
Season: 1 
Card: 4

Vibe Check

Pyongyang, 2017. Students pose next to a fake fighter jet in the playground of the Pyongyang Sci-Tech Complex.

Pyongyang Sci-Tech Complex I

[Mint Atsui](https://atsui.fun) now https://atsui.fun

Atsui is an NFT collection of 5555 survivors, acting as an introduction to the entertainment brand that is being built in the web3 space.

The introduction happens through the eyes of a protagonist called Phoebe Sun, whose personal diary is depicting the lore surrounding one of the key events in the ATSUI universe: the Shattering.

Mission: To facilitate healthy growth of web3 space through the reach of our entertainment brand into existing traditional forms of entertainment and invest into web3 education to unlock further innovation within the community.

Atsui #1

A collection of 100 photographs minted on the blockchain by Trevor Traynor

With Doppelgänger, Quantum and Justin Aversano unveil a collection of 1000 unseen outtakes from the healing journey of Twin Flames restructured through code. This collection is a set of 1000 unique animations created in collaboration with Kim Asendorf, known for his Pixel Sorting script. Processed through code, unique variations of the original twins portraits by Justin Aversano become their own glitched alter ego before our eyes.

To view the full resolution artwork,  just go to: https://quantum.mypinata.cloud/ipfs/QmaYZdNv7WbxmGdkYE1Pdr4cM9mKBbYJoiNCDQXpzcH7ya/?token=131

Aeroglyph Variations #28 by Reuben Wu

Aeroglyph Variations is a collection evolved from my Aeroglyphs body of work, created exclusively for Obscura Curated. 

Aeroglyphs explores my method of intervention in landscape photography. By using light carrying drones and long exposure, I’m able to play a larger role in artistic expression all without leaving a trace on the scene.

This series was captured over the course of 20 hours in New Mexico, USA on Dec 12-13 2021. It shows the iterative processes and decisions I typically encounter during the creation of a final image, presented as a collection of 55 images. Compositionally, every image is the same, yet in attributes, every image is different. Time of day, light formations (glyphs) and other traits vary within the series to result in a spectrum of unique possibilities.

Taking inspiration from generative art and groundbreaking photo projects such as Carpoolers (Alejandro Cartagena), this project examines the notion of the photographer as algorithm; the code that creates and which ultimately derives from our unique programming of life experiences.
Reuben Wu's OpenSea: https://opensea.io/itsreuben?tab=created

Edition: 1 of 1

Commissioned by Obscura

Aeroglyph Variations #32 by Reuben Wu

Aeroglyph Variations is a collection evolved from my Aeroglyphs body of work, created exclusively for Obscura Curated. 

Aeroglyphs explores my method of intervention in landscape photography. By using light carrying drones and long exposure, I’m able to play a larger role in artistic expression all without leaving a trace on the scene.

This series was captured over the course of 20 hours in New Mexico, USA on Dec 12-13 2021. It shows the iterative processes and decisions I typically encounter during the creation of a final image, presented as a collection of 55 images. Compositionally, every image is the same, yet in attributes, every image is different. Time of day, light formations (glyphs) and other traits vary within the series to result in a spectrum of unique possibilities.

Taking inspiration from generative art and groundbreaking photo projects such as Carpoolers (Alejandro Cartagena), this project examines the notion of the photographer as algorithm; the code that creates and which ultimately derives from our unique programming of life experiences.
Reuben Wu's OpenSea: https://opensea.io/itsreuben?tab=created

Edition: 1 of 1

Commissioned by Obscura

Aeroglyph Variations #49 by Reuben Wu

Aeroglyph Variations is a collection evolved from my Aeroglyphs body of work, created exclusively for Obscura Curated. 

Aeroglyphs explores my method of intervention in landscape photography. By using light carrying drones and long exposure, I’m able to play a larger role in artistic expression all without leaving a trace on the scene.

This series was captured over the course of 20 hours in New Mexico, USA on Dec 12-13 2021. It shows the iterative processes and decisions I typically encounter during the creation of a final image, presented as a collection of 55 images. Compositionally, every image is the same, yet in attributes, every image is different. Time of day, light formations (glyphs) and other traits vary within the series to result in a spectrum of unique possibilities.

Taking inspiration from generative art and groundbreaking photo projects such as Carpoolers (Alejandro Cartagena), this project examines the notion of the photographer as algorithm; the code that creates and which ultimately derives from our unique programming of life experiences.
Reuben Wu's OpenSea: https://opensea.io/itsreuben?tab=created

Edition: 1 of 1

Commissioned by Obscura

Upgrade this item to unlock it and enjoy with it. Upgrading does not require any fee.

La Paz, capital city of Bolivia with an altitude of 4000 metres. Bolivia 2010.

"Buscando a Bolívar" is the result of my journeys through Bolivia, Ecuador and Venezuela between 2009 and 2014, during the presidencies of Evo Morales, Rafael Correa and Hugo Chavez. Along this route I found much more than I was looking for. I was dazzled by the unexpected, actracted by the ambiguity and the complexity; which are the very essence of reality.

Untangle your mind, find space and stillness. Release your grasp on the material world and become translucent. This is the opening. 

Original cyanotype on watercolor paper made with shadow and sunlight.

Shane Lavalette was commissioned by the High Museum in Atlanta to create a series of photographs for the exhibition *Picturing the South* which would become his monograph, *One Sun, One Shadow*. It was primarily through traditional music—the sounds of old time, blues, and gospel—that Lavalette had formed a relationship with the region. This history became a natural entry point to explore the connection between music and the landscape of the American South through images.

*One Sun One Shadow* was named one of the “Best Books” of the year by photo-eye and shortlisted for the Kassel Photobook Award and the Author Book Award at Les Rencontres d'Arles. Lavalette's work has been featured by various publications, including *The New York Times*, *TIME*, *NPR*, *CNN*, *The Telegraph*, *Aperture*, *Hotshoe*, and *Foam Magazine*. Lavalette’s photographs have been exhibited widely, in addition to being held in private and public collections around the world. 

Hormuzs ocher is used in at least twenty different industrial products like paint, cosmetics, tiles and ceramics, mosaics, ocher and glaze pottery, and the production of industrial micronized powders, among others. Even the islands native people used ocher for making a traditional kind of food named Souragh. But working conditions for laborers in Hormuzs mines are very difficult, with one of the main issues being workplace conditions and a lack of safety facilities. The mine and factory belong to a private company that, according to its miners, does not pay enough to Workers. The factory has been closed for about three years.

2015 / Hormuz Island

I took this photograph in the village of Karabash, close to the heavy industry center of Cheliabinsk, in the Ural region of Russia, which the UN has marked as one of the most polluted spots in the world in its environmental pollution reports. The toxic fumes from the chimneys of unfiltered copper factories and the pouring acid rains had filled the waters of the artificial pond in Karabash with heavy metals. The pond, which was the only entertainment for the children of the poor village, was actually as dangerous as a time bomb.

Belinda and Rosita by Alessandra Sanguinetti

‘The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams’ is the first chapter in a story of two young cousins growing up in the countryside of Buenos Aires, Argentina. The story follows Guillermina and Belinda from age nine to thirteen (1999-2004), a time in their life when dreams, fantasies, and fears fused seamlessly with real day-to-day life.

Edition: 1 of 1

Fellowship Studio

Produced in Monterrey Mexico, this image offers a glimpse at the invisible workforce behind the development of northern Mexico. 

This photograph is part of my series, Carpoolers, which depicts laborers in México captured from an overpass, commuting between distant suburbs and urban centers. Like much of my work, this project comes from a desire to tell the story of the dramatic environmental, economic, and demographic changes playing out in my home city of Monterrey. This series of images is a way for you to own some of my earlier work that has shaped my career.

This photograph is part of my series, Carpoolers, which was inspired in part by my grandfather. A construction worker in México, he traveled this way for many years. These photographs were taken from an overpass and depict the many laborers who carpool between the distant suburbs and urban centers for work. This is a unique NFT of this photograph, which has been exhibited internationally and is in prominent museum collections around the world.

This photograph is part of my series, Carpoolers, which depicts laborers in México captured from an overpass, commuting between distant suburbs and urban centers. Like much of my work, this project comes from a desire to tell the story of the dramatic economic, environmental, and demographic changes playing out in my home city of Monterrey. This series has circulated the internet since 2011 and has been exhibited widely around the world.

I voluntarilly decided to take a self portrait while getting sprayed with the backyard hose. This image is a performance about trust and submitting to the art form. Shutter release in hand, would I still be able to capture the photograph without succumbing to the instinctual fight or flight response? How much control over the image does the artist have when met with this factor? If anything, it was a lot of fun.

Photographed on a Hasselblad 503cx using Kodak Portra 400 medium format film.

Bastard Countryside is the struggle between humanity and nature, two contrasting forces fighting for control. But there’s also a part that resides someplace else; in a fictive realm that gestures towards some unknown, a less certain landscape. With a feeling of things left behind and what is still to come, these photographs tap into our cultural anxiety of what the future holds.

When I first began working on this project the world was a different place. It was 2003 and I was just beginning to hone my skills as a picture maker. A lot has since changed. I now have a young family and can’t help but wonder what kind of world we are leaving behind for the generations to come. Although the series has been made in the UK, the subjects and themes are global and invite the viewer to reflect on the actions that have shaped and shifted the spaces they interact with.

This piece is part of the Bastard Countryside: a series of 50 photographs, shot on 5x4 large format film, made over 15 years.

0xf9ff…7a10

$2,200.36

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