
Post Photographic Perspectives @FellowshipAi https://xitter.cf/t.co/tRiZon4Kqs
Edge of Reality
Joined December 2021
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I just wanted to share a bit of background about me and my work. I also wanted to say a huge thank you to everyone that has supported me up till now. It has made it possible for me to continue doing what I love and look forward to sharing the new things I am discovering soon. 💜
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Past Releases:
Moments of Argleton Lane by Jacqui Kenny @ArgletonLane as part of PPPII
Depending on which one of these statements you believe will determine whether you think Jacqui Kenny (The Agoraphobic Traveller) is a post photographer, curator, explorer, storyteller, or a conduit to another world, discovered during her escape from anxiety and agoraphobia.
Her initial inkling that she was tuning into somewhere else, rather than just exploring a version of our reality, was during her project "streetview.portraits." As she journeyed through the virtual world of Google Street View, she began to notice time glitches and visual anomalies. On returning to a place she had once visited, people would have moved or disappeared; something wasn’t right. This other place crystallized into the concept of ‘Argleton Lane’, drawing inspiration for its name from Argleton, a town on Google Maps that suddenly disappeared in May 2010, leaving no trace of its existence.
"Observations of Argleton Lane" is the third in the Argleton Lane series. It is a collection of mysterious scenes captured when Jacqui was able to intercept the extensive monitoring of Argleton Lane. To date, she has been unable to discern if the “strangeness” is a result of technical anomalies or whether there is something more to it. Is it an indication that those who created and controlled these worlds have more nefarious motives? As with all Argleton Lane collections, Observations is seeded with imagery discovered during her extensive virtual journeys in Street View, but augmented by her imagination.
To see the full collection, visit: daily.xyz/exhibition/moments…
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"Observation 056 14.04.12" from the Moments of Argleton Lane collection by @ArgletonLane → Collected by @lifeofc
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Re-imagining a town that was removed from Google Street View.
Argleton was a ghost town that appeared on Google Maps and Google Earth but was later removed by Google. Many myths explain its disappearance, but we don’t know the real reason.
Curious to explore new places, @ArgletonLane used her archives to train an AI and create a new world called 'Argleton Lane.' It feels both familiar and strange, resonating with but not being of this world. In this collection, she explores themes like threads and sinkholes, portals, and homes in her AI-created world.
↓ Below, you’ll find the artist’s thoughts and reflections on these themes
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Huge congratulations to @john__gerrard & @fellowshiptrust
ANNOUNCEMENT:
'STANDARD' by @john__gerrard with @fellowshiptrust sees $500,000 USD in sales on day one of @ArtBasel Zero 10.
The 2023 created artwork (formerly Surrender Flag) is a real-time digital simulation and edition of 4 + 2AP. Each frame is generated live, with no two repeating.
"The work proposes that we share one atmosphere, an invisible commons that recognises no national or political boundaries, and that we may choose collectively how to care for it."
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Gn ! Last night was truly special! So many people turned up at the “Auntiescapes” opening and many happy smiles after taking pics at the “mirror into auntieverse” . Others stared in wonder at the incredible screens of @LoadGallery which felt like it should be a “digital art extension at the Louvre” (same grandeur and scale)
Another open art night tomorrow and artist talk if you can make it ! 💚🐸💚
A special occasion within our new exhibition — tomorrow, 9 May at 19.00, @niceaunties will present her new body of work in an artist talk and guided tour through Auntiescapes, as part of Poblenou Open Day.
Spaces are limited. Registration link below
Reading this today feels almost prophetic.
The computer was imagined as a way to expand visual possibility, but AI pushes this further, opening spaces beyond cultural memory or learned imagery.
For me, these tools are not just generating images but allowing encounters with realities that feel discovered rather than invented. A new visual language is emerging, somewhere between imagination and experience.
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top left: a few blocks from our house
top right: new work, unminted
bottom row: from the Flags series, now available on Fellowship
As some of you may know, I have been mostly housebound since late 2019, due to mobility impairment from worsening spinal disease and knee arthritis, and other health challenges. When I do leave the house, it is almost always for medical appointments. The image at top left depicts the route on my way to one such appointment.
I found this image in my photo gallery yesterday. There’s nothing special about the image that I can see now. But since it’s of poor quality, and was in my iPad and not my phone, then I suspect it’s not a photo taken from my car, but instead captured from Google Earth.
Since 2019 I have spent a great deal of time “traveling” and capturing images using Google Earth and Street View. (I was recently so happy to learn about @ArgletonLane’s amazing work in this vein!) You might be surprised to learn that almost all of the Frags—those rotating crystal 3D sculptures with various scenes inside, that captured a lot of attention last Fall—were informed by my Google Earth travels, from a four-horse town in New Mexico, to the ruins of a city street in Gaza City.
My newest work incorporates a different color scheme, lighting, and composition than my recent work, and also now takes place in more urban settings. Called “Flags”, 4 of them will be available on auction beginning tomorrow, Tues, Feb 10, on @FellowshipAI at daily.xyz/exhibition/daily-p….
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We retreat to imagination the same way we retreat to a digital realm.
[@ArgletonLane]
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GROUND RULES open at @SFMOMA. Unbelievable to think that so many people will be seeing the work.
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“We are now in transition from an object-oriented to a systems-oriented culture. Here change emanates, not from things, but from the way things are done.” → @eva__jaeger
alignDRAW: Celebrating 10 Years of the Project
“A group of happy elephants in the green grass field #63” by @elmanmansimov → Collected by @ArgletonLane
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The alignDRAW → The Essays 📄
In 2015, @elmanmansimov's alignDRAW showed that a neural network could turn text into images, small 32×32 pixel results that pointed to a new way of making pictures. Ten years later, we’re marking that moment with a large-format book.
As part of the publication, we gathered five essays that explore alignDRAW from different perspectives, reflecting on how a research experiment became part of the broader conversation around image-making and computation.
↓ Featuring essays by:
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Observation #064 - 17:16:05 from the Moments of Moments of Argleton Lane by Jacqui Kenny (@argletonlane) - Collected by @plutoniumfitzg
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Diving into Observation #090 as a dev wiring up decentralized realms, that crimson portal doesn't just reflect it refracts the whole damn user journey.
Cause: Jacqui hacks the surveillance stream, pulling ethereal glitches from Argleton Lane's void, where timestamps like 23:05:43 etch permanent provenance onchain.
Effect: viewers glitch out too, swapping passive scrolls for active forks suddenly your wallet's not a vault, it's a wormhole spawning alternate selves in the metaverse.
Risky as hell, but that's the alpha: static art dies, reflective narratives thrive, turning collectors into co-creators.
@FellowshipAi, you're engineering mindshare one mirror at a time.
What happens when dApps start embedding these portals, forcing users to confront their onchain shadows? @argletonlane @0xjwpe
Observation #090 - 23:05:43 from the Moments of Moments of Argleton Lane by Jacqui Kenny (@argletonlane) - Collected by @0xjwpe
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Observation #063 - 11:12:00 from the Moments of Moments of Argleton Lane by Jacqui Kenny (@argletonlane) - Collected by @sssluke1
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Welcome to the Daily Program @JenPanepinto!
Jen has been developing a distinctive voice through her art. The use of light and motion, combined with images that touch on the weight of the self and contemporary life, connects many of her pieces. I first reached out to her in May of last year and have seen how she's been able to consistently develop new ideas within this framework of themes. We are delighted to have her join the @fellowshiptrust program. I know her contributions to what these digital tools can create will be important.
Here is a tease of what she is developing for the program🔥
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thank you to everyone who reached out with support since the unfortunate news broke of christie's closing the digital art dept.
i remain at christie’s as a digital art specialist and am deeply proud of what we’ve built over the past 3 years since i joined. i'm especially grateful to the artists, collectors, and colleagues i’ve had the privilege to work with and the huge milestones we achieved together.
a special thanks to @nicoleasales, whose leadership and partnership have meant so much, and to @annaroszak12, whose growth has been inspiring - both would be dream hires for any team.
while it may take some time to get it right within this new structure, digital art will continue to be part of our 20th / 21st century sales. i am grateful to stay on and keep pushing the space forward however i can.
🫂
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Can't wait for the opening tomorrow
It's time for HYPERTOPOGRAPHICS.
This is a big week for us. We're five months in, and opening a dream show. A world-renowned blue-chip photographer collaborating with a leading AI artist to create truly new and authentic artworks.
Not a ghost-artist crafting for a master, but two incredible artists coming together to create deeply meaningful work that bridges the themes of their complementary practices, and working in lock step to bring each of their unparalleled techniques together for something extraordinary.
Tonight we hang those ten new works in the gallery in preparation for the opening on Wednesday and artist talks Thursday (both 6-8pm at 300 Broome). Will be a special moment to see them all together hanging.
They can now be previewed on our website as well, linked below. Each 4k image online presents exquisite details derived from their master 20k pixel wide print files.
We'll be sharing images and videos of the show install over the coming days for anyone who can't make it. Burtynsky's master printing process is extraordinary, an immaculately tuned set of post and material processes in his world-class facilities in Toronto, mounted and floated in handmade wood frames for each artwork.
This is also the first tokenized work with Burtynsky's name on it, with each work as an L1 Ethereum NFT. His practice has always lead the way in adoption of new technologies, and he's carefully waited for the right scenario to engage both web3 and AI. Now, the validation lent from his adoption of both art on the blockchain, and AI in art making is something we'll be spreading far and wide, helping grow the systems based and digital art movement.
The evolution of Avcioglu's practice also reaches important new territory with this series, joining forces with a long-time inspiration while also coming out of a sold out show at Paris Photo and having released a feature length AI 'documentary' in Istanbul called Post Truth – soon to be screened at some of the biggest film festivals worldwide.
What has been created here with Topographics is something we will celebrate not just this month for the show, but until the end of the year with big presence in two leading art fairs, Contemporary Istanbul and Paris Photo. The highlighting of this work will continue ongoing, and we can't wait to share some of the press and reviews that are coming in for the work.
We invite everyone to use the project as the catalyst for conversation in your own circles – about art and authorship, and technology and authenticity. This is work that grabs attention, keeps it, and at the same time offers something much deeper.
Of course the work is also a commentary about the human impact on this planet, just as all of Burtynsky's work is – we'll share more on this soon.
For this series, all carbon usage will be offset through Less Emissions. Complementing these carbon offset measures, 2.5% of the sale of each work will be donated to The Nature Conservancy and an additional 2.5% to the Center for Humane Technology, key environmental and conservation organizations that focus on human, environmental, and democratic well-being.
We encourage you to spend some time with each artwork, learn about both artist's practices (and markets), and let us know if you have any questions leading up to the show and sale that starts this Wednesday.
Links, details, and artworks below ↓↓↓
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»Art isn’t disappearing. It’s just moving, becoming more accessible and less tied to one physical location. The old model was built on scarcity and prestige. The new one runs on access and attention. The question isn’t whether galleries will survive, but which ones can change fast enough to matter.«
– Keith Estiler
From: »The Slow Death of the Contemporary Art Gallery«, in: Hypebeast
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Collection: "Moments of Argleton Lane"
Artist: @ArgletonLane
Piece: Observation 076 14.52.53
Collected by @Zeneca
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# is for @num1crush
A is for @AiMachina / @ArgletonLane
B is for @NathanBoey
C is for @clairesilver
D is for @dancevatar / @deltasauce
E is for @EclecticMethod / @Ethereal_Gwirl
F is for @FARRAHXYZ / FirstSyndrome @davegrohl420
G is for @genekogan
H is for @huemin_art / @Historic_Crypto
I is for @infiniteyay / @illustrata_ai
J is for @JenPanepinto
K is for KEZIAI @KeziaBarnett / @nine_lives_kat
L is for @LaurenceFuller / @LeMoonSynth / @LEGIO_X_ / @lilyillo / @evrythngissoft
M is for @degens / @makeitrad1 / @mind_wank
N is for @nuclearsamurai / @bagdelete / @nouseskou
O is for @_opticnerd_ / @OliverWDahl
P is for @pixlosopher / @plasm0 / @panaviscope
Q is for
R is for @rainisto / @rebeccarose
S is for Spencer @CerSpencer / @SimonRaion
T is for
U is for
V is for @VikkiBardot / @NomadsVagabonds
W is for @_VictoriaWest_
X is for @XCOPYART
Y is for @GrantYun2
Z is for @violettazironi






































