Inked · Token Detail
Inked #72
Inked is a 444-piece generative collection that treats tattooed skin as a living gallery wall.
Each artwork focuses on a real-world tattoo placement — forearms, hands, shoulders, backs, ribs, necks, ankles and more — photographed or rendered in a photoreal, cinematic style. Traits define body area, ink style, theme, scale, colour palette, setting and lighting, allowing the system to generate a broad diversity of designs and subjects while keeping the mood cohesive: respectful, intimate, artful.
Skin tones range widely and intentionally, celebrating global diversity and how ink behaves across different complexions. Designs include botanicals, animals, sacred symbols, constellations, geometric forms, script and abstract marks. The result is a portrait series that balances realism with curation, making each token feel like a still from an unseen tattoo photography book.
Token information
- Collection
- Inked
- Token ID
- #72
- Subject
- Man
- Skin Tone
- Light
- Placement
- Upper Arm
- Tattoo Style
- Line and Dotwork
- Tattoo Theme
- Animals / Birds / Insects
- Ink Palette
- Black and Soft Grey Shading
- Setting
- Soft Fabric or Bed Setting
- Lighting
- Soft Natural Window Light
- Rarity
- Common
Owner information
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Spectra
Spectra is a study of matter revealed as light.
Each work is rendered as a long-exposure spectral field — a restrained, museum-grade image where compounds and materials appear as bands and lines held against deep charcoal. These are not diagrams. There are no axes, grids, labels, or legends. Only the quiet evidence of a signature.
Across the collection, four regimes are held in tension: hydrocarbons, nuclear fuels, clean-energy materials, and metal alloys. The politics is embedded in comparison, not slogans — warmth versus precision, diffusion versus containment, abundance versus legacy — expressed only through light.
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.