Glitch · Token Detail
Glitch #87
Each Glitch token is a record of breakdown — geometry dissolving into static,
planes splitting under computational stress, neon shards erupting through collapsing forms.
From the debris, new structures emerge: offset cubes, recursive fragments,
and shifting layers rebuilt from the remnants of the algorithm’s failure.
This is destruction reinterpreted as creation.

Token information
- Collection
- Glitch
- Token ID
- #87
- Geometry Breakdown
- Slab Fracture
- Surface Treatment
- Acrylic Block Layers
- Light Accents
- Burnt Orange Slash
- Palette
- Indigo Rust Charcoal Linen
- Corruption
- Fine Print Static
- Rarity
- Common
Owner information
More from Glitch
Other Collections
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.
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.


