Digital Muses

“Jesse finds a way to make his art dance. It feels alive with a movement that makes you want to swim in the digital ocean he’s created. His canvas is ones and zeros and is put together in such a way that creates a visually stunning world for all of us to see and appreciate. Some artists use technology to create glorified lava lamps; Jesse Woolston uses machine learning and programming to create deep, and thoughtful art that tells a story.”

The work “Love 3.0” is inspired by the classic masterpiece “Proserpina” visible at the Borghese Gallery in Rome. Léo Caillard revisits this masterful work by interpreting it entirely in digital form. A work of several hundred hours to achieve an extreme level of detail.

The strength of this work lies in the duality that exists between the proximity of the bodies and their movement away from each other at the same time. The addition of VR headsets reinforces the impossible linking effect. They are together physically and yet each in their own virtual universe. Allegory of our time, magnificent, dramatic, and beautiful at the same time.

The collector panel was hosted by Georgina Adam.

Georgina Adam is the former Art Market editor of The Art Newspaper, where she is now editor-at-large. She is a contributor to the Financial Times Life & Arts Section, lectures at Sotheby's and Christie’s institutes in London and regularly participates in panels about the art market.

During the collector panel, Benny Gross stated "Art is not easily defined, and you cannot put it in any 1 box. It does not matter if it is digital, crafts, graffiti or 19th century pastels - it is all art. I do not collect because the “digital” aspect makes the piece have more value - the art’s meaning, coupled with the artists talent, is what I look for. We need to separate the fact that NFTs have massively overreached and have garnered prices that are unsustainable. We now need to focus on the fact that there are talented artists creating good work. Using a stylus instead of a brush does not take away from the nuances, details or hard work that an artist put into it. The truth is, digital art has been around since the 50’s, with artist like Vera Molnár. Sometimes in art we need to be patient. While aesthetically I may enjoy generative and digital art, others may not, but believe me, future generations will. For me, I’m willing to wait for my grandchildren to be the first generation to appreciate what I collect.”

Motherhood

Collector: WCC.

In this inaugural artwork of Yatreda’s future collection Tizita ትዝታ, Artistic Director Kiya Tadele paints a vivid portrait of the unspoken daily life of an Ethiopian mother. Becoming a mother is not merely a rite of passage; it's an exploration into a new chapter full of mystery, which can only be unraveled by courageously stepping into the realm of motherhood.

This depicted journey highlights a leather baby carrier, a traditional accessory embraced by Ethiopians throughout history and modern times. It serves a dual purpose; it cradles the child securely, while also liberating the mother's hands, enabling her to fulfill her daily responsibilities. The accompanying umbrella shields both mother and child from the intense sun, a loyal companion whether they are on their way to a community gathering, church, water source, or any other destinations their paths may lead them.

Yatreda's lens provides a profound insight into the silent symphony of motherhood, showcasing the African artist's portrayal of undying strength and hope for upcoming generations.