The Art Newspaper’s recent Art Basel diary highlights several intriguing events and artworks from the 2026 fair. One standout is the presence of Soff, a self-described “interdimensional artist” from the Soff Multiverse, who is developing a game machine that allows users to create their own “post-human body.” This concept aligns with the fair’s Zero 10 section, dedicated to digital art, and prompts reflection on the future of human identity and digital existence.

In a recent interview, Brazilian digital artist Tù.úk’z discussed his artistic journey and the evolution of his work. He emphasized that his art mirrors his personal growth and spiritual state, leading to continuous change in his creative expressions. Initially, Tù.úk’z explored abstract art through design studies, finding solace in repetitive patterns and lines, which provided a meditative escape from life’s challenges. This process allowed him to experience moments of detachment from his body, alleviating negative emotions and motivating his creative pursuits.

The article “Objkt discoveries: Serpens” explores the creation of “Serpens,” a unique ring that embodies the fusion of the digital and physical realms. Crafted from white gold and featuring a rare Carbonado gemstone—formed over 100 million years ago during a meteorite crash—the ring’s design draws inspiration from the captivating structures of spiral galaxies and nebulae. Its digital counterpart exists as a non-fungible token (NFT), embedding space-time coordinates within its metadata to immortalize the artists’ conception of the artwork. This dual existence symbolizes the convergence of earthly materials and celestial phenomena, encapsulating a love story that transcends space and time.

In the article “Synesthetic Visions: Victor Acevedo and the Language of EVM,” Victor Acevedo, a pioneer in digital art, discusses his development of Electronic Visual Music (EVM), a term he coined in 2013 to describe a genre where visual elements are synchronized with music to create a synesthetic experience. Acevedo’s journey began in the 1980s when he transitioned from traditional painting to digital art, inspired by the concept of visual music introduced to him by Gene Youngblood’s class and Ed Emshwiller’s video “Sunstone” (1979). This exposure led him to explore the interplay between sound and visuals, aiming to express musical structures graphically through geometric abstractions infused with lysergic energy.

The article “To Val Kilmer” on objkt.com pays tribute to the late actor Val Kilmer, highlighting his contributions to the digital art community through Kamp Kilmer—a collective dedicated to fostering artistic collaboration and healing. Kilmer’s engagement with the platform included minting two of his poems, brought to life through collaborations with artists like Laurence Fuller, Tania Rivilis, and Goldcat. Fuller reflects on the profound experience of performing Kilmer’s poetry, especially considering Kilmer’s loss of voice, emphasizing the deep trust and connection involved in these artistic endeavors.

In “The Prince of the Abyss,” artist _xo delves into his creative journey and the development of his digital art practice. As a Gen Z, digitally native artist, _xo has embraced digital mediums from the outset, utilizing AI to bridge abstract concepts with tangible visuals. This integration allows him to focus on the emotional resonance of his work rather than solely its appearance. His series “Beneath the Bright Morning Star” narrates a personal evolution from being overwhelmed by the past to embracing the illuminating challenges of the future, symbolizing a transformative ascent toward self-realization.

In the article “Synthetic Abstractions,” Anika Meier interviews artist Tom White about his 2018 series, which explores the intersection of artificial intelligence (AI) and human perception. White, with over 25 years of experience in AI and generative art, discusses his journey from studying AI at MIT to creating artworks that challenge machine vision systems. He highlights the philosophical intrigue of deconstructing intuitive human processes and reconstructing them through AI, emphasizing the bottom-up evolution characteristic of AI compared to traditional top-down programming approaches. (blog.objkt.com)

In the interview “Secret Meadow: An Interview with Negar Sepehr,” Iranian artist Negar Sepehr discusses her journey from mechanical engineering to full-time artistry, highlighting the challenges of pursuing art in a society where it is not traditionally recognized as a profession. Influenced by her father, a civil engineer and art enthusiast, Sepehr began with traditional painting, incorporating Persian motifs and calligraphy to address themes of women’s rights and freedom. Her transition to digital art, particularly through AI tools, allowed her to explore new techniques and develop a distinctive style characterized by vibrant colors and patterns. Sepehr’s work often focuses on minorities, reflecting her experiences in a country where women’s and LGBTQIA+ rights have been historically overlooked. (blog.objkt.com)

In the interview “FrameFrens: An Interview with Schauermann”, the artist discusses his self-taught journey into art, emphasizing the importance of maintaining art as a personal playground free from external pressures. He highlights his enjoyment in blending various artistic styles, including digital painting, 3D elements, photography, and pixel art, to create cohesive visual narratives. Schauermann reflects on his early experiences in the Web3 space, noting the initial excitement and community engagement, and observes a shift towards a more subdued atmosphere, with a renewed focus on the appreciation and longevity of art. (blog.objkt.com)

In the article “Life is a Bad Hollywood Movie,” visual artist Katerine Escobar discusses her journey from traditional pencil drawing to digital illustration, a transition catalyzed during the pandemic. This shift allowed her to develop a unique aesthetic that blends organic and digital elements without losing the essence of her work. Her latest collection, “Life is a Bad Hollywood Movie,” comprises five pieces that satirically transform everyday life’s chaos into a spectacle reminiscent of poorly scripted films. Employing a high-contrast style with a pencil-like texture, Escobar critiques societal norms and personal dramas, encouraging viewers to find humor in life’s predictability. (blog.objkt.com)