2026
70W60L135H cm

LED Curved Module, Iron Frame, Acrylic,
Motorcycle Parts, Aluminum Alloy Tube, Resin Coloring, Crystal Stickers, and Mixed Media.  

INFO

VIBE3 2026 continues the artist’s investigation into digital capitalism and its technological mythologies. Rather than approaching Web3 merely as a set of technical protocols, the work considers it a “sociotechnical imaginary”: a narrative structure that organizes capital, attention, and collective desire through visions of the future. As Sheila Jasanoff and Sang-Hyun Kim suggest, imaginaries of technological progress often carry implicit assumptions about collective futures and social order. Through a linguistic mutation of Web3, VIBE3 reveals how a technological concept can be transformed into an affective form that can be circulated, consumed, and continually renewed.

The sociology of expectations argues that technological promises do not merely describe the future; they also mobilize resources, attract investment, and coordinate collective action in the present. When a technological narrative loses its practical force, its language, imagery, and affective structures do not necessarily disappear. Instead, they may detach themselves from their original object and re-enter the next cycle of technological imagination. VIBE3 2026 therefore concerns neither the success nor the failure of Web3, but the way technological belief continually renews itself through cycles of promise, hype, and disappointment: the revolution was never realized, but its visual system was.

MetaVoodoo 2026

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            2026
60W60L155H cm

LED Modules, Aluminum Alloy, Iron Framework, Stainless Steel, Acrylic, Crystal Stickers, and Mixed Media. 

INFO

Crypto No Mercy began in 2022, at a time when cryptocurrency mining was rapidly expanding worldwide. The continuous operation of vast numbers of mining machines and facilities consumed enormous amounts of electricity, intensifying debates around energy, environmental impact, and resource distribution. Combining mining equipment, Bitcoin symbols, and industrial tools into an almost violent image of production, the work examined how the creation of virtual value depends upon energy consumption and material infrastructures in the physical world.

In Crypto No Mercy 2026, this contradiction has not disappeared but has been repackaged in a new form. Drawing on the real-life example of the Netherlands-based company Bitcoin Brabant, which uses waste heat from cryptocurrency mining to warm tulip greenhouses, the work imagines a futuristic product displayed at a technology trade fair: a machine capable of mining cryptocurrency while using the resulting heat to cultivate tulips. Within this single apparatus, the seventeenth-century tulip bubble encounters the twenty-first-century crypto economy, bringing finance, computing power, energy, and plant life together within an apparently efficient, circular, and sustainable production system.

“MINE. BURN. BLOOM.” functions both as the product’s promotional slogan and as the operating logic of the system. It translates resource consumption into growth, repackages mining waste heat as a new form of productivity, and transforms an environmental problem into a technological selling point that can be exhibited, promoted, and consumed. Rather than determining whether this technological solution genuinely resolves the problem, the work considers how technology and capital absorb the contradictions they produce, renaming crisis as innovation, circularity, and progress.