The first piece of his in the vault was a gift. traces arrived from the artist on the eleventh of November, 2025, before I had bought anything of his at all, which is a strange and lovely way to meet someone's work. Two weeks later I won _ d e l u g e _ on SuperRare, and when I made a short list of favorites in the new year it was one of the four names I typed. Every piece of his I own is a loop. None of them sit still, and they should not.

Hardware that is allowed to fail

He sent me his bio this September and it reads like a workshop inventory. He has been at this since 2014, starting with analogue and circuit-bent glitch devices and modular video synthesis, vintage hardware wired into modern tools. The subject, in his words, is digital decay and intentional distortion, revealing the beauty within technological imperfections. Most of what he points the machines at is landscape: natural scenes and skies and water, reinterpreted until they oscillate between organic and synthetic forms. You can see it in traces. It is a landscape the way a scratched VHS of a landscape is a landscape, and that is exactly the feeling.

Early on, the work was live. He performed visuals in small Florida clubs, manipulating the hardware and live VHS camera rigs to throw glitched signals onto walls and buildings and whatever screens the room had, highlighting the challenges of analog devices within a predominantly digital environment. These days he works from a studio, a more controlled room where the experiments can go deeper. I live in Florida too, and I like knowing that somewhere in this state there is a room full of old video gear being coaxed into art on purpose.

hic et nunc, 2021

He entered crypto art in 2021 through hic et nunc, the Tezos platform that gave a whole generation of glitch and video artists their first home, and the work has spread from there. Two of the pieces here came through Transient auctions, i n f i n i t e _ f l o w in January of 2026 and even_deeper that April, from a series he calls u t o p i a. One came as an edition of thirteen he sent in December, low_blue_drift, a small blue loop I did not ask for and would not give back.

Why the archive matters for work like this

Video is the fragile end of this whole collection. A still can survive as a thumbnail somewhere; a loop that lives on a dying host is gone the day the host is. So every one of these five is stored here as the file he actually published, checked and fingerprinted, and they play on the TV with everything else. Glitch art is about machines failing beautifully. The least I can do is keep the machines that hold it from failing at all.