Dust · Token Detail
Dust #100
Each Dust token is a unique chalk composition built from layered forms: faint circles, rigid lines, drifting arcs, soft pastel blocks and erased traces. The textures mimic real paper and real pigment — pressure marks, smudges, ghost lines and powdered residue.
The collection balances strict geometry with human irregularity, producing works that feel both mathematical and handmade: blueprints for something that might exist only in the imagination, or memories of drawings left overnight on a studio table.
Token information
- Collection
- Dust
- Token ID
- #100
- Geometry
- Offset Radial Map
- Color Accents
- Dust-Yellow Accent
- Paper Texture
- Recycled Fiber Texture
- Composition
- Minimal Sparse Form
- Motion / Erasure
- Ghost Shapes
- Rarity
- Uncommon
Owner information
More from Dust
Other Collections
Trace
Trace is a study of perception — a hybrid visual language where photographic fragments become architectural diagrams, and linework reveals the hidden structure inside the world.
Each artwork begins with real photographs: textures, objects, architectural details, or natural fragments. These images are arranged as intentional collages — quiet, asymmetric, evocative. Over them, precise linework unfolds: topographic contours, orthographic projections, and geometric extrapolations that reinterpret the photograph’s form.
Trace sits between blueprint and sketchbook, between fine-art print and architectural analysis. It is a dialogue between what is seen and what is understood.
Remanence
Remanence is a study of the human face recorded as light over time.
Each work depicts a recognisably human facial form rendered as a sparse spatial point cloud and subjected to long‑exposure spectral recording. Motion across the exposure produces temporal echoes — red‑shift and blue‑shift afterimages that reveal the face at different moments in time.
These are not portraits. They are residual impressions: what remains of form once time, movement, and wavelength have been allowed to interfere.
Chairs
Chairs is a study in sculptural absurdity: a museum-grade exploration of chairs that push beyond functional design into expressive, impractical, and architecturally playful form.
Each work is a hyper‑photorealistic portrait of a chair behaving more like a sculpture: a seat that bends too far, loops into itself, contradicts its own engineering, or performs gestures no practical furniture would ever attempt.
The result is a collection where fine‑art photography meets conceptual design, blurring the boundary between object, artwork, and architectural experiment.