Verse

Wayfinder (2023) Wayfinder is a 2.5d experiment: an infinite extruder that generates an ongoing stack of 2d shapes. Realtime, JavaScript and WebGL, variable dimensions, custom software, interactive. Shown at “Materialized”, 2023, @verse_works #gysinvanetti

Installation view of Topology of Loss by @loackme the gallery’s attic room. On view until April 25. loackme Topology of Loss, 2026 Real-time custom software, IPFS 50 frames, 256 × 256 px Topology of Loss unfolds from a simple yet recursive operation: a field of generated noise subjected to repeated cycles of resizing, compression, and reconstruction. With each iteration, the image is incrementally displaced from its origin, as the logic of JPEG encoding begins to reorganize the surface, producing block structures, softened gradients, and fragmented transitions. What remains is not a trace of the initial noise, but a reconstituted image shaped by the conditions of its own degradation, where loss becomes the primary structuring force. This unstable surface is set into motion through color cycling, in which luminance is translated into a shifting chromatic sequence, allowing the image to oscillate between states rather than resolve into a fixed form. Dithering operates as a threshold, distributing tone across granular patterns that both stabilize and disrupt the image’s continuity. The work situates itself between control and erosion, precision and collapse, where the image persists not as a stable representation, but as a temporal condition, continuously reforming through the very processes that undo it. - #loackme #genart #galeriemet

Petra Cortright “SILICON _DRIFT” motherboard _boot _sequence.md , 2026 Booth Z13, @artbasel Hong Kong, 27-29 March

PETRA CORTRIGHT “oscar_winners_1997” broadcast_metadata.mov, 2026 Digital painting on canvas 88 H x 88 W cm (33.46 H x 33.46 W in) Framed: 87.3 W x 87.3 W cm (34.38 H x 34.38 W x 2.00 D in) @artbasel Hong Kong

Art Basel Hong Kong | Petra Cortright SOLOS is excited to present Petra Cortright’s ‘blueberry cell phone silk celadon popcorn drift’ at this year ’s Art Basel Hong Kong - a series of nine paintings and nine corresponding NFTs. Built in Photoshop from layers of brushstroke-like textures, digital effects, and images sourced online, each painting has a sister NFT that shares source imagery but exists as a distinct artwork in a different medium. Together they extend Cortright’s ongoing exploration of how images move between digital and physical forms. Booth Z13 - Art Basel Hong Kong - 27-29 March 2026

👔 𝟱𝟬𝟬 𝗙𝗥𝗘𝗘 𝗡𝗙𝗧𝘀 𝗯𝘆 𝗠𝗼𝗠𝗔 𝗮𝗿𝘁𝗶𝘀𝘁 𝗧𝗮𝗯𝗼𝗿 𝗥𝗼𝗯𝗮𝗸 - no crypto wallet needed (𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼) We are incredibly proud to introduce Tabor Robak’s most ambitious project to date: *Human Resources*, a series of 10,000 profile pictures of white men. The works are a satire of the blandness of corporate culture and the creeping dominance of tech companies over our world. They are anti-beautiful, anti-cool, anti-everything. Tabor built a custom AI model to generate all 10,000 images, then hand-finished each one himself. *Human Resources* is the culmination of Robak’s ongoing TabCorp Industries universe, a fictional mega-corporation built entirely as an artwork, using the visual language of enterprise branding and corporate theater to frame digital art as industrial product. Here, the workforce behind the facade: 10,000 PFPs, from interns to execs. Everyone gets ranked. No exceptions. The scam is the art. PFPs are about building communities, and here a community forms under the banner of Human Resources, an evil art company. Tabor Robak is an American digital artist based in Paris. His work is held in the permanent collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Serpentine Galleries, and the National Gallery of Victoria, among others. He was named in Forbes’ 30 Under 30. Having worked across multi-channel video installations, generative software, fashion (Balenciaga, Maison Margiela), and film, Robak has long found the digital medium to be his most natural form, and NFTs its logical extension. **Public Sale opens today, March 12 at 6PM GMT.** First 500 are FREE. After that, $14. No crypto wallet needed. Final supply: 10,000. Welcome to the company.

Tabor Robak’s Human Resources goes live on Verse this week! Human Resources is a series of 10,000 LinkedIn-style white men by Tabor Robak, each minted on Ethereum as an NFT. But…why? In Tabor’s own words: “The PFP (profile pic) is an incredible genre native to NFTs. It’s art historical in a way, yet it’s faded from the conversation. Now that we have some distance, it’s interesting to return to it as a conceptual medium.” The classic 10k PFP project (think Bored Apes, CryptoPunks, etc.) typically follows a rigid format and is instantly recognizable. ‘Traits’ are often a big part of it too - CryptoPunks became a phenomenon in part because the headline prices of ultra-rares. In Human Resources, each NFT is an employee of dystopian megacorp TABCORP INC. Maybe they’re real people in the next layer of the simulation. Maybe…we were the PFPs all along. We go live on @verse_works Thursday at 6pm GMT - collectible with no crypto and no crypto wallet. And for the first 500 no USD either (they’re free). Hope to see you there.

Tabor Robak, Human Resources / 10,000 corporate workers, minted on Ethereum / 12 March

I’m so delighted that we get to present the works of Parker Ito at the @felixartfair . Whether working across sculpture, painting, or NFTs, Parker approaches his practice, on a macro scale, as being about images - not as a medium-specific outcome, but as a governing logic. The works presented at Felix are the product of a printing process Ito has been developing since 2021, one that systematically subverts the intended function of a large-format inkjet printer. Printing onto hand-textured, paint-laden canvases, the ink resists absorption, remaining wet, mobile, and open to intervention. The boundary between the printed and the painted, the photographic and the gestural, becomes genuinely difficult to locate. What emerges is not reproduction but translation-images shaped by friction, material resistance, and mechanical instability. Title: TBC, 2026 Ink, acrylic, modelling paste, GAC 100 and varnish on canvas 203.2 × 152.4 × 5.1 cm Title: TBC, 2026 Ink, acrylic, modelling paste, GAC 100 and varnish on canvas 203.2 × 152.4 × 5.1 cm visions of the Pilgrim’s Printer Progress from this world, to that which is to come (small knight), 2024 Ink, acrylic, modeling paste, gac 100 and varnish on canvas 61 x 50.8 cm (24 x 20 in)

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‘Ad Space’ by Mika Ben Amar is a series of 111 artist-curated pieces exploring our browser-based daily experience, using a chrome extension Ben Amar built which removes all the content of a website leaving only the ads. Each composition reveals the infrastructure we rarely see. Behind every personalised ad placement, AI systems and targeting algorithms process our browsing patterns, search history and online behaviours to build profiles and predict our interests. By removing everything else, the work reveals what sustains the “free and open” internet. Our private lives are converted into data, bought and sold for access to our attention. The series stems from her using the materials of the internet (both physical and digital) as a canvas to investigate the state of being chronically online.

It’s a pretty big week coming up for us at @_solos_gallery 🥂 We’ll be exhibiting at Art Basel Miami, presenting new works by @tylerxhobbs . Tyler’s practice explores the meeting point between human and machine creativity, where the algorithm becomes both tool and collaborator - a living system shaped through continual creation, iteration, and curation. Our booth brings together two new bodies of work, both born from the same core algorithm. From Noise is a dense, maximalist exploration of algorithmic mark-making. Translated Gestures isolates individual marks from the larger From Noise compositions, extracting single gestures from the ~4,000 that make up each work and giving them room to breathe within a more minimal composition. Together, the works consider what an artistic gesture becomes when it emerges from code rather than the hand. They draw a distinction between the “native gesture” - marks that belong naturally to a medium, whether a painter’s strokes or a computer’s pixels - and the “translated gesture,” where a visual style is reconstructed inside a medium that doesn’t instinctively produce it. If in Miami please come find us @artbasel booth Z3 ☀️