Artists in Residence

AOTM Artists in Residence Program: AiR IV

AOTM Artists in Residence (AiR) invites a select group of non-roster artists to join the AOTM ecosystem for 3-month terms. This is the second year of the initiative.

The resident artists of AiR IV – the first cohort of 2025 – are: ADHD, cydr, and JULES.

Structured in regular career and curatorial development sessions with the AOTM community, each term culminates in a digital exhibition sale via AOTM featuring new artworks created by the residents. Artworks created by the residents will also be entered into the AOTM Collection in exchange.

AiR allows AOTM to continue on its mission to push digital art forward by taking on a more active role in the cultivation and development of different creative voices, building community, and expanding the definition of a gallery in the digital art sphere, and beyond.

The concept behind AiR relates back to AOTM’s namesake, Peggy Guggenheim’s groundbreaking Art of This Century, a hybrid art gallery, art collection, museum, and meeting place for New York’s avant-garde during the 1940s.

The artists, artworks, and ideas gathered at Art of This Century would have an indelible impact on the modern and contemporary art world and culture at large. 

Through its AiR initiative, AOTM honors this legacy of impactful community building, patronage, and creative exchange.

ADHD

ADHD is a pseudonymous moniker used by US-based multidisciplinary artist Colin Frangicetto (aka Space Case). Working in a vast range of mediums & aesthetics, he is best known for his cerebral, poetic, abstract digital paintings and collages that blur the line between digital/analog interfaces. Through an obsessive process of recursive excavation, he creates hyper-layered images that blur the line between chaos and cohesion, addressing the wholly contemporary themes of memetics, alienation, and decay.  He has exhibited since 2008, and his work lives in many collections worldwide.

INSET
In the 1990s, something called Picture In Picture (PiP) became a common feature in most televisions.  It was a simple concept (though technologically complex); as you watch one program, you can minimize it down to a small window that stays visible inside the TV screen’s borders while you are free to channel surf or watch another program simultaneously.  This seemingly insignificant upgrade in many ways can also be seen as a psycho-spiritual inflection point for mainstream media consumption. 
Our attention spans never recovered, and the amount of screens and subsequent imagery we subject ourselves to on a daily basis has gone parabolic. As a YouTube video plays on my laptop, a TV show plays in the next room over as I scroll through Instagram, X, or some never-ending search engine rabbit hole, at the same time, multiple real-time marketplace widgets update in the background. A minimized Chrome window with 20+ open tabs resides at all times, intermittently pulled up to send an email, pay a bill, transfer crypto, or look at some art, all while that YouTube video and exterior TV continue to play uninterrupted. As I walk down a city street, I gaze at the real-time GPS map in my handheld device as it and I collaborate to get to my destination. This moving image of myself staring at a screen simultaneously walks across the screen of surveillance monitors of various stores, government buildings, ring cameras, and vehicle security cams, integrating my body and actions into the oroborus of images.
As everyday life becomes more digitized and 24/7/365, it increasingly feels as if we exist inside this recursive hall of screens within screens. While exploring this concept as inspiration for a series of collages, I came across the word “inset,” a synonym for “channel” which most simply means “a place where something flows in.” In a direct physical sense, an inset is “a part or section that fits within a greater part” or “a small graphic representation (such as a map or picture) set within a larger one.”  
The process I have embraced for this series attempts to seamlessly merge with the kaleidoscopic drift of content and create a feedback loop between life and art.  As imagery floods across the various screens in my everyday life, following my interests of both research and recreation, I take constant screengrabs and image saves that get curated and nested within each other. I then fracture, distort, and arrange, rearrange, corrode, discard, and manually glitch these images in a way that seems to mirror the way my mind and memory process, flatten, store, degrade, forget, and restructure them. Drawing inspiration from Rauschenberg’s silkscreen collage paintings as well as the sacral art of medieval stained glass window panels, I attempt to make memorials of meaning from this endless cycle of noise and signal.”

cydr

Cydr is a Brazilian artist who explores ideas through illustration, photography, and digital remixing. Shaped by a childhood surrounded by video games, technology, and internet culture, his work reflects a deep connection to digital aesthetics and nostalgia. Through playful experimentation and visual interference, Cydr aims to create something new—not unrecognizable, just shifted. Familiar, but with a different weight. Whether through exaggerated moments, warped perspectives, or textures, it invites the viewer to a first look at what they have already seen. When asked to describe his style, he unfortunately doesn’t know how to—he jokes around and says Cydrism.

My work always starts with something familiar: a photo I took, a memory I want to hold onto, a dream, a scene that caught my eye. Then I try to recreate it through different eyes and maybe ideas, transforming the original.

I’m not trying to hide what it is—I want it to stay familiar—but I like shifting how it feels. I push it to create a new atmosphere, where the subject becomes a little heavier, lighter, stranger, funnier, or sharper.

Given that I was inserted into the digital world so early, with video games and internet culture, I’m drawn to the digital, not just as a tool, but as a place to explore. I want my works to feel more like digital objects or worlds, rather than just images on a screen—this reflects on the colors, depth, textures, dimensions, and even the ability to zoom into details.

There’s also no fixed method behind what I make. Each piece leads me somewhere different. Sometimes it’s playful, sometimes it’s personal, but it always follows that same instinct: to transform what I already have, and hopefully transform what others had as well.”

JULES

Jules is a multidisciplinary artist whose digital projects address contemporary human concerns related to time, beauty, love, and loss. The resultant works are a uniquely soulful fusion of blockchain, conceptual art, and pathos.

Jules’ practice often begins with the tangible – flowers, flame, sculpture, or the human body – captured through performance and practical effects. These raw materials are then reworked through custom analog interference and digital frameworks, resulting in glitch-like renderings.

Jules uses the blockchain not just as a medium of distribution, but as an active layer of the work itself embedding change, chance, and decay directly into the contracts.

Editorial

Editorial
04/29/2025

Noise, Memory, and Mutation: New Forms in AiR IV

Artists in Residence
Editorial
01/14/2025

Reflecting on the Convergence of Past, Present, and Future: The AiR III Exhibition at AOTM

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Editorial
08/23/2024

The AiR II Exhibition at AOTM: A Tapestry of Time, Perception, and Technology

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Collections
05/03/2024

Art of this Millenium and Art in this Time: The Inaugural AOTM Artists in Residence Program