Message To Martians Characters are your core avatars in the MTM Ecosystem. A maximum of 8888 will exist - but far less will remain after Augmentation.  A character can be minted with a Transponder and Space Capsule pair, you can learn more and check your redemption status for a Character at www.messagetomartians.com.

ZZYZX #50 by Gregory Halpern

The early settlers dubbed California The Golden State, and The Land of Milk and Honey. Today there are the obvious ironies – sprawl, spaghetti junctions and skid row—but the place is not so easily distilled or visualized, either as a cliched paradise or as its demise. There’s a strange kind of harmony when it’s all seen together—the sublime, the psychedelic, the self-destructive. Like all places, it’s unpredictable and contradictory, but to greater extremes. Cultures and histories coexist, the beautiful sits next to the ugly, the redemptive next to the despairing, and all under a strange and singular light, as transcendent as it is harsh.

The pictures in this book begin in the desert east of Los Angeles and move west through the city, ending at the Pacific. This general westward movement alludes to a thirst for water, as well as the original expansion of America. The people, places, and animals in the book did exist before Halpern’s camera, but he has sewn these photographs into a work of fiction or fantasy—a structure, sequence and edit which, like Los Angeles itself, teeters on the brink of collapsing under the weight of its own strangely-shaped mass.

Edition: 1 of 1

Fellowship Studio

The Royal Pinedo #27 by Cristina de Middel

In the tropical region of Los Yungas in Bolivia, surrounded by coca plantations, Cristina De Middel has encountered the story of a King. His name is Julio Pinedo. Julio is a descendant of prince Uchicho, the King of the Kikongo tribe that arrived from the Congo in 1820. This collection will document the daily life of a quite unusual king, recognizing his legacy and the oral tradition that remains after 3 generations. The story will show how this legacy plays out within the the current problematic coca industry in the country, which is still one of Bolivia's biggest agricultural productions.

Edition: 1 of 1

Commissioned by Obscura

Aeroglyph Variations #41 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

THE VILLAGE #28 SHARK by Deanna Templeton

This project started in 2002. A year after my mother passed away, a few years after my father passed. What I remember was one day I was thinking about my parents and feeling a little bit lonely, a little empty and decided to go for a drive. So I decided to drive out to my grandmother's house in San Pedro, which is about a 45 minute drive from where I live. I just wanted to reminisce, to re-explore the surroundings where I would go when I was a child. The liquor store I would walk to to get a Lipton Ice Tea and a bag of Frito’s, to the bakery where I swore all the cookies didn’t have sugar in them and then I drove over to Ports O’Call Village. As soon as I started to walk around I came across a stage with some Mariachis playing and it just hit me, I felt like I was home, I was with family. Over the next 5 years, whenever I could, I started going out there on the weekends. Getting reacquainted with the village and the locals. To shoot everything I wanted to remember.

Edition: 1 of 1

Commissioned by Obscura\

 #40 Holt Cemetery, New Orleans, Louisiana by Alec Soth from Dissolutions (Sleeping by the Mississippi)

I became a photographer to engage with the physical world. Photography gave me an excuse to drive around and watch light bounce off things. I also enjoyed the process of converting this light into physical emulsions. But the goal of bringing these documents together as books and exhibitions was much more ephemeral. I want my photographs to function as springboards for memory and imagination.

My first project, Sleeping by the Mississippi, was made out of a desire to drive along the Mississippi River, but I rarely photographed the river itself. By depicting a puzzling mix of people and places, my goal was to prompt the viewer to generate her own imaginary Mississippi. From static images I hoped to create meaning that kept flowing.

For my first commissioned NFT project, I wanted to make something that spoke directly to this transmutation of meaning from the physical to the ephemeral. Whether one dissolves the photographic emulsion or converts it to code on the blockchain, the heart of the art is not destroyed. 

Edition: 1 of 1

Commissioned by Obscura

Subject Studies #48 by Tania Franco Klein

Subject Studies is an anthropological project on the perception of the subject inside
contextualized imagery. Repeatedly creating the same context for a scene to happen, the gaze
is now turned into how each spectator constructs their perception of the scene and the
characters on it from their own cultural gaze and personal history.

The various subjects recreate a similar character in the scenes they inhabit. A scene which
maintains the same essence in terms of visual qualities, framing , lighting, editing.

In a wider and general manner the way of describing one of the sequences could be for
example a person in a green bathroom. After that, it just gets complicated and complex as
vocabulary and perception change the atmosphere in which each person perceives the mood of
the scene differently depending on the subject in front of them.

“We don’t see things as they are, we see them as we are”
attributed to the writer ANAÏS NIN

Edition: 1 of 1

Commissioned by Obscura

The Black Mechanism #21 (Untitled 11798-1541) by Todd Hido

"This is the gift of the landscape photograph, that the heart finds a place to stand” - Emmet Gowin 

All photographs are unreal. Even though they are a best attempt at a realistic capturing of a space in time, there is so much else that gets pulled into even the most straightforward landscape photo, unique to both the artist and the viewer. A landscape can evoke a personal memory of a certain space, or point toward a historical significance of the place being photographed. Sometimes, it’s just a mood suggested through the way a certain tree branch bends and twists, or an ominous narrative implied by a neglected house. 

With my camera in hand (what Italo Calvino referred to as “the black mechanism”), I have tried to express a subtle disquiet, and suggest an ambient darkness that is as much literal as it is metaphorical. The landscapes show a desolate and dark world, a precipice in time from which one senses we will struggle to emerge. Yet even as these images can be seen to reflect the daily barrage of terrible news, it’s important to remember that each image captures light from within. There is always a ray of light, even a frail one, to illuminate the dark roads, the deep forests, and the icy territories. There is always hope.

Todd Hido


Edition: 1 of 1

Commissioned by Obscura

Whirlpool #13 Patricia Dell by Jim Goldberg

This project, Whirlpool, began in 2019 from a commission by the High Museum of Art as part of their Picturing the South collection. The Obscura Curated commission has allowed me to continue this project and go deeper.

I worked in a small, racially mixed, and working-class town by the name of Augusta, AR. Located along the White River in Arkansas’s Delta region, its heyday had long passed with the gradual decline of steamships and use of the river. I was fascinated by the small-town life and its history, the landscape, the hunting culture, the complicated familial ties, and the delicate dynamics of race and economic status that lived there. It was complex and stood out to me as a true reflection of contemporary American consciousness at this moment.

The work received its name from the White River, which at one time was the lifeblood of Augusta. In the river, many literal and metaphoric whirlpools are created by opposing currents, and tensions within the community and in the country at large.


Edition: 1 of 1

Commissioned by Obscura

Ursula 3 #20 by Hannah Whitaker

This collection of photographs expands on a character who has been the focal point of my work for a few years: Ursula. I leave ambiguous exactly who and what she is. Her nature is something between an AI, a fictional character, an avatar, a product of the collective imagination, and a living, fully dimensional, being. 

I have previously made two bodies of work with her. The first I published with Image Text Ithaca Press in a book called Ursula. These photographs also comprise my genesis NFT drop. The second I showed recently at Galerie Christophe Gaillard in Paris in an exhibition called Shadow Detail. This third body of work is the first made specifically for the NFT space. I’m calling it Ursula 3, as the third iteration of the project, and in a nod to Web3.

These photographs incorporate some of the photographic techniques that I have used in the past in cultivating the mystique of Ursula—silhouettes, special effect lighting, and printed backgrounds. For Ursula 3 I combined these techniques with a more hands-on approach to set building. I had several props and set materials fabricated out of mirrored plexi, including patterned screens, Ursula’s profile, and her hands. I also had made a turtleneck, gloves, and hoods in reflective materials. In addition to using these props, I incorporated rear projection, a technique used in a pre-digital era of Hollywood filmmaking. 

The sets are more complex than I had done previously, with the intent of making the space in the photographs stranger, more layered, and more difficult to decipher. The resulting photographs evoke the established language of the Ursula lineage but usher her into an increasingly synthetic universe.

Edition: 1 of 1

Commissioned by Obscura

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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. 

Santa Catarina, N.L. Mexico, 2005-2010. This image is part of a 5-year project called Suburbia Mexicana. I wanted to document the rapidly changing landscape around my home city of Monterrey. Thousands of these little houses were being built and sold through government subsidies creating a housing bubble that lasted 12 years. In the end entire suburbs were abandoned and many became areas of extreme violence, where the drug war was fought for years. Others flourished and became the dream of homeownership the government forcefully pushed on Mexicans for years.

I will keep you safe. You keep me wild.

"Viking Girl"

A/A #1

A poetic narrative about the things we do and the places we go to forget ourselves.

Photographs made from 2015 to 2017 in Argentina and Switzerland.

1/1 Piece
Luminaria - Lights
B/W Photography

2021




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Creature World's self-titled collection of 10,000 unique digital artworks. Created with love by Danny Cole. www.creature.world Associated digital collections and gifts to Creature holders include Crowd, Traveling Creature Memories, Creature Playground, Danny’s Drawings, Creature Psychic, and Journey Artifacts.

Welcome to The Creature World. You have arrived in a nearby magical dimension of love, divine intervention, and possibility. 10,000 unique Creatures are here to guide you on this journey. Follow their lead. Created with love by NYC-based artist Danny Cole. www.creature.world.

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