In this episode of 1980s artistic journeys, I highlight a new 1/1 art piece, a new 30-piece collection, and a recent visit to an incredible artist studio. One important note: None of the artwork below is created with AI; instead, I enjoy visualizing AI by crafting the art into narrated stories.

Fabricated Nations

Is a recent unminted video artwork that I created to expand on the theme of agents of my anarchy and anarchy collection between the "real" and "digital" worlds.

In a world governed by code and autonomous bias, Fabricated Nations captures the slow unraveling of shared truth and institutional trust.

/artwork story

A four-part visual sequence. From a real-world room that represents humans sending inquiries into machines to a swirling sphere of autonomous agents rewriting the narrative, the piece navigates the breakdown of reality in an autonomous future. It questions the authenticity of information, the manipulation of collective bias, and the slow erosion of traditional power structures as data grows uncontrollable.

/from the artist

The message can feel dark. Its intention is to speak truth, a truth that shines light for us all to see that we can collectively shape a healthier future together

/artwork architecture

Status: Unminted video artwork
Available sizes: 1920x1920 (Full HD, square) or 2160 × 3840 (4K, vertical)
Tools: p5js, blender 3d, photoshop, premier
Scenes: 4 foundational artworks with four sub artworks inside the art

Artwork Contact

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Agents of anarchy

Disrupting human-controlled systems. profit over rights. when the entities came, the humans bowed... https://agents.1980k.com

/agent/inspiration

If it’s not obvious by now — the agents are coming. AI agents, that is. To automate our lives away, or at least that’s the story the influencers are selling us. This collection started under the name "D4T4", a concept meant to represent our unique identities in digital form. But as the idea developed, it evolved. "Agents" felt like a better fit — more rooted in now, in this strange intersection of identity, data, and automation. As we begin connecting our lives through nodes until inevitable anarchy, it’s something we’ll look back on.
In a way, our identities have already been taken. If our worth is reduced to data, what exactly do we still own? These faces — generated from the residue we leave behind online — are an echo of that question. Each Agent is a mirror of the digital ghosts we’ve become.

/agent/why tezos

Honestly, I'm tired of the blockchain debates. The endless discourse around which blockchain, royalties, and tech specs. My focus has shifted towards having fun — letting the art and story speak for themselves.
Early blockchain with Tezos — Hic Et Nunc, the chaos, the experiments, and some of the most fun I’ve had in crypto. So it only made sense to mint in a place backed by that culture.

/agent/why own an agent

Agents will most likely be my only PFP collection. Only 30 1 of 1 pieces will ever exist, and for only $12 each. As with most of my atomic collections, there will be a [REDACTED] exclusively for holders. You know the drill.
Each Agent is a timestamp. A signal. A representation of what we look like in the age of automation. These aren’t characters — they’re you, fragmented and reassembled by code, expression, and digital residue.

To own one is to own a reflection of now. A memento of where identity is headed, or what’s left of it...

Available on Objkt

One unique symbol and style have stood out over the years of exploring artists around Oaxaca. When visiting some of the most sought-after studios and galleries, I began to recognize a mermaid often hung on walls in a raw, unfinished clay style. It wasn’t until a few years after seeing this style that I began to ask who it was and later learned the name of the artist…

Studio visit: José García Antonio

José García Antonio, a renowned Oaxacan clay sculptor, creates distinctive primitive sculptures, planters, and vases from the region’s red clay, often depicting himself and his wife, Teresita, inspired by her unique mole and their enduring love story. Blind from glaucoma, he sculpts intuitively with "hands that see," guided by memory and touch, producing expressive, heartfelt pieces that blend traditional Oaxacan craftsmanship with personal narrative.

His work, celebrated at the 2014 International Folk Art Market and honored by Fomento Cultural Citibanamex as a master sculptor, stands out for its emotional depth, cultural authenticity, and ability to inspire despite physical limitations. His family-run studio in San Antonino Castillo Velasco fosters a tactile, intuitive creative process that resonates globally, with pieces in museums and private collections.