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hx_8c107

Museum Link: https://app.museumofcryptoart.com/collection/the-permanent-collection?collection=0xb932a70a57673d89f4acffbe830e8ed7f75fb9e0&token=12812&page=1

Source Link: https://superrare.com/artwork-v2/hx_8c107-12812

Date Minted: August 13, 2020 (Happy birthday, Mom!)

Artist Description: inside / / GIF / 720x720 pixels / 45 frames

CohentheWriter’s Commentary:

Hx_8c107 is kaleidoscopic in the fullest sense of the word. Hexeosis’ piece breaks down abstract images into colors and fractals. It provides constant movement and metamorphosis. What it shows us is not an image, but the space between images, or the building blocks of images after being torn apart. As we are taken along on the hallucinogenic journey hx_8c107 lays out for us, we are asked to put aside our preconceptions of form, fluidity, and fullness. This is a piece that is constantly changing, constantly moving, constantly sucking us further into its hypnotic spirals and shapes and pulsations. It’s quite moving, isn’t it? It’s quite easy to get sucked inside. And as for an Artist Description? “Inside” is all Hexeosis says. 

One of digital art’s many strengths is its ability to adapt itself onto whatever screen it is being displayed on. Take hx_8c107, where, when displayed on Superrare or Opensea, it is relegated to a small box. But click on that box, make the image full-screen, and you are suddenly assaulted by it. Hx_8c107 stretches to the confines of its frame, and becomes more of itself by doing so. With the image so large and close, it’s possible to see all the minute shiftings and unraveling colors that are constantly happening in the spaces between spaces, the colors that are twisting within colors. Some things are simply made larger, louder, better, by scope. Imagine this piece unlimited by a computer screen, but instead blasted out by some enormous wall-sized projector. It would eat you! It would be too large and too intense to resist; you’d be consumed by it. You’d let it consume you! Simple beauty, blown up to a grand-scale, and we’d be powerless to resist it.

Such is the power of abstract art, and that’s why so many prominent Abstract Art exhibits in Museums will showcase incredibly large canvases streaked over with shapes and paint. Canvases many yards across and many feet high. Even if featuring something basic —merely squares or squiggles or spirals— there’s an awesome quality to them if presented with sufficient  scale. Hx_8c107 can have this quality, but it can also make a good phone background. It can be both world-devouring and a novelty. It depends upon our viewpoint. 

When trying to figure out what we’re actually seeing in Hx_8c107, we’re thwarted by the movement therein. What colors can you pick out? There are pinks and reds, yellow and greens and turquoises, white and black, magenta and lavender, and here I am, listing all the colors under the sun, it feels like, but still, regardless of that enormity, I’m mostly overwhelmed by a placid sense of light greens and soft pinks: Meadow colors. I’d be remiss not to find the image pleasing in a visceral sense; these colors, and their soft pulsations, could accompany me to sleep. Shapes, trapezoids and triangles and all manner of hedrons, fraction and shrink and disappear altogether as they wormhole out towards the edge of the piece, to be replaced by an infinite march of others, none more easily-defined, none better-understood. The image moves quickly, and it’s difficult —by intention, I presume— to find any single thing to ground ourselves. Colors change as quickly as we recognize them. Shapes are more hinted at than formed. 

Are we watching form in construction, or are we watching it breakdown? Hx_8c107  seems to have no interest in answering that question, only in showcasing the fact that there is nothing stable to witness. Ultimately, there is no beginning nor end point of the piece, because it seems entirely unconcerned with finalities. 

I’m tempted to discuss in more detail the exact center of this piece, the black hole from which everything else emerges. It is a wormhole from which an overwhelming magnitude of shape and color bursts through in quasi-predictable patterns, only to be changed indelibly by the various distorting forces worked upon them throughout their journey to the piece’s fringes. I’m tempted to take some larger meaning from the thing, to use this as a springboard to talk about life and death, the warping power of time, the importance of environment on a thing’s eventual outcome. But it would seem a disservice to Hx_8c107  to glom it onto such wimpy human attributes as life and death. Hx_8c107 is more than that, or, rather, it exists outside of that altogether. 

It’s a system in constant motion, without, as mentioned, end or beginning. It has been in motion long before we opened the page which contains it, long before we first set eyes on it, and presumably it will continue long after we X-out or turn away. It’s life under a powerful microscope, a quantum realm where things are broken down to their basest elements, or even less so, to quarks which we can name, sure, but can hardly understand. Look closely at Hx_8c107: Do you really know what’s going on here? We may understand the colors, images, forms that you see, even if we can’t exactly point them out for conscious description. Hx_8c107  is inter-logical, within our ability to perceive but outside our ability to comprehend.

I’d like to see this piece take up the whole of my vision. I’d like to let it fill up my world, and see what life looks like when I can’t understand any of it, when I must merely observe it and let it take me.