Danielle King

“Anni x Tarsila”, 2022 an imagined collaboration between Anni Albers and Tarsila do Amaral on @objktcom

“Berthe x Nan”, 2022

My new series ‘Threadbare’ debuts on @objktcom this Thursday April 16th at noon EST. This AI-collaborative series aims to expose a profound parallel between two forms of cultural erasure: the dismissal of women’s bodily experiences and the historical devaluation of textile arts as mere “craft.” When I prompt AI models to generate images of cesarean scars, stretch marks, and the physical marks of motherhood, they frequently return fabric and clothing instead of flesh. Surgical wounds become frayed seams, postpartum bodies are rendered as torn cloth and loose threads, the scarred aftermath of birth transforms into worn textiles and unraveling garments. This algorithmic confusion is not a failure but a revelation. The machine vision mirrors centuries of patriarchal seeing. Just as embroidery, weaving, and needlework have been relegated to the domestic sphere and denied status as “high art,” so too have the marks and transformations of pregnancy, birth, and postpartum recovery been dismissed as private matters unworthy of serious attention or representation. These images exist in the liminal space between documentation and hallucination, between what I asked for and what the algorithm could comprehend. The AI model’s insistence on seeing fabric where there should be flesh becomes a metaphor for how women’s corporeal realities have been consistently misread, aestheticized, and diminished. The delicate lace trims and gauze bandages that appear in these works oscillate between tenderness and violence—both binding and wound, both adornment and injury. By working with rather than against the model’s biases, I make visible the threads that connect these two dismissals. The “women’s work” of textile creation and the “women’s work” of bearing children are equally devalued and hidden by a culture that looks away.

“The Red Shoes” Minted on @objktcom for the 2026 #objkt4objkt event

Danielle King Featured as part of Women’s History Month on MuseFrame—an @artandvault initiative developed and curated by Farrah Carbonell @far.rah , in collaboration with @theHUGxyz .  Powered by @artdomains . Danielle King is an artist, writer, and curator based in Western Massachusetts. She studied studio art and art history at @harvard University, working primarily in photography, film, and mixed media. Her recent work utilizes AI technologies to create alternative art histories, explore memory and the duality of self, and investigate capitalist and art historical ideals of beauty, femininity, and motherhood. After receiving her MBA from the @yale School of Management, she spent eight years managing the Department of Painting and Sculpture at @theMuseumofModernArt in New York. She is currently Head of Community at @right_clicksave . Danielle is a member of the MAIF artist collective, an alumna of the @verticalcryptoart Residency, and an Adjunct Lecturer at the Center for Creative Computation at @smumeadows . She is also a mother of two. Now presented across Muse Frames via the Muse app. The program continues with invited artists alongside selected artists from the HUG.ART open call.

Thrilled to be part of this exhibition, organized by @objktone and @thesecondguess , on view this weekend in LA! 🌴 Reception: 27 February, 2–5 PM Viewing Hours: 28 February, 8 AM to 9 PM Location: 4065 Glencoe Ave #100 Marina Del Rey, CA 90292 I will be showing work from a new series, ‘Threadbare’, which aims to expose a profound parallel between two forms of cultural erasure: the dismissal of women’s bodily experiences and the historical devaluation of textile arts as mere “craft.” The exhibition features many fab artists, including @nnhirsch , @canekzapatap , @claudhart , @fantasticplanet , @leahschrager , @studio_de.wilde , @manta_timing , @margaretmurphyart , @martnbruc , @rj16848519 Thank you @kn___studio and @artontezos for the support! ♥️

THE ART OF GOOD TASTE Core members of the digital art community discuss their collecting habits as part of Art on Tezos: Berlin Featuring @fanny.lakoubay , @pocobelli , @daniellekingart & @greekdx Link in bio! Mentions include: @artontezos @aljaparis @trilitech @vincianejones @tezos @100collectors @artnome #clubnft @msoriaro @haydiroket @kurthustle97 @trevorjonesart @pboy_artist @fvckrender @fxhash @objktcom #FEMGEN #HicetNunc @sko.hr @micol.ap @alexestorick @taschen @superrare.co

My works ‘Blue Collar Town’ and ‘Miscarriage’ on view at @artverseparis as part of the @tezos Photography Prize ❤️‍🔥 Both minted on @objktcom

“Miscarriage” minted for the @artontezos Photography Prize Exhibition, November 14, 2025 at @artverseparis Honored to be a finalist in the Photorealistic AI category, along with @jvdenft and winner @mblehaut This work continues my ongoing interrogation of motherhood’s hidden experiences. The spectral double exposure captures what often remains unseen: the space that exists between presence and absence, what was and what could have been, and the body that holds both grief and memory.

➤ “scar glitch” motherglitch uses older AI models with their characteristic glitches and artifacts to capture a specific moment in artificial intelligence’s evolution, when the technology’s limitations were more visible - and more honest about their inability to fully represent human experience. Where my broader MOTHER series (https://verse.works/series/mother-by-danielle-king) interrogates contemporary AI’s polished but problematic interpretations, motherglitch examines the beauty found in technological failure. I turned to older AI models - the ones that glitch and fracture, that can’t quite hold an image together - because they reminded me of early motherhood. Those systems struggled to render what I asked of them, just as I struggled to recognize myself in the mirror. Bodies separate into chromatic layers because motherhood does split you into pieces. Scan lines run through domestic scenes like the constant interruptions of maternal life. I wanted to preserve these moments before technology learned to hide its seams, before it got better at lying about how difficult it is to hold the complexity of a mother in a single frame. These glitches - the errors, the breakdowns, the moments where the system simply gives up trying to make it pretty – are closer to the real lived experience of motherhood than any perfect image could ever be. artist: Danielle King | medium: 3072 x 3072 PNG | minted October 15, 2025 for the Art on Tezos: Berlin exhibition “Soft Error,” curated by Von Doyle and hosted by ACCOMPARTS, November 6-8, 2025, Berlin, Germany • @daniellekingart // 10 ed. -> 20 xtz.▲ ● objkt.com/galleries/accomparts 2025 Computer Art Auction House © #eth #btc #xtz

➤ “pregnancy glitch” motherglitch uses older AI models with their characteristic glitches and artifacts to capture a specific moment in artificial intelligence’s evolution, when the technology’s limitations were more visible - and more honest about their inability to fully represent human experience. Where my broader MOTHER series (https://verse.works/series/mother-by-danielle-king) interrogates contemporary AI’s polished but problematic interpretations, motherglitch examines the beauty found in technological failure. I turned to older AI models - the ones that glitch and fracture, that can’t quite hold an image together - because they reminded me of early motherhood. Those systems struggled to render what I asked of them, just as I struggled to recognize myself in the mirror. Bodies separate into chromatic layers because motherhood does split you into pieces. Scan lines run through domestic scenes like the constant interruptions of maternal life. I wanted to preserve these moments before technology learned to hide its seams, before it got better at lying about how difficult it is to hold the complexity of a mother in a single frame. These glitches - the errors, the breakdowns, the moments where the system simply gives up trying to make it pretty – are closer to the real lived experience of motherhood than any perfect image could ever be. artist: Danielle King | medium: 3072 x 3072 PNG | minted October 15, 2025 for the Art on Tezos: Berlin exhibition “Soft Error,” curated by Von Doyle and hosted by ACCOMPARTS, November 6-8, 2025, Berlin, Germany • @daniellekingart // 10 ed. ->20 xtz.▲ ● objkt.com/galleries/accomparts 2025 Computer Art Auction House © #eth #btc #xtz

➤ “depression glitch” motherglitch uses older AI models with their characteristic glitches and artifacts to capture a specific moment in artificial intelligence’s evolution, when the technology’s limitations were more visible - and more honest about their inability to fully represent human experience. Where my broader MOTHER series (https://verse.works/series/mother-by-danielle-king) interrogates contemporary AI’s polished but problematic interpretations, motherglitch examines the beauty found in technological failure. I turned to older AI models - the ones that glitch and fracture, that can’t quite hold an image together - because they reminded me of early motherhood. Those systems struggled to render what I asked of them, just as I struggled to recognize myself in the mirror. Bodies separate into chromatic layers because motherhood does split you into pieces. Scan lines run through domestic scenes like the constant interruptions of maternal life. I wanted to preserve these moments before technology learned to hide its seams, before it got better at lying about how difficult it is to hold the complexity of a mother in a single frame. These glitches - the errors, the breakdowns, the moments where the system simply gives up trying to make it pretty – are closer to the real lived experience of motherhood than any perfect image could ever be. artist: Danielle King | medium: 3072 x 3072 PNG | minted October 15, 2025 for the Art on Tezos: Berlin exhibition “Soft Error,” curated by Von Doyle and hosted by ACCOMPARTS, November 6-8, 2025, Berlin, Germany • @daniellekingart // 5 ed. ->40 xtz.▲ ● objkt.com/galleries/accomparts 2025 Computer Art Auction House © #eth #btc #xtz