Redemption · Token Detail
Redemption #263
Redemption is a 400‑piece generative art collection created as a visual journey through Lent. Each artwork is a charcoal‑and‑ink meditation on the mystery of suffering and mercy: a bowed head under a crown of thorns, hands clasped in prayer, a veiled figure in shadow, arms outstretched in a cruciform gesture, or simply a beam of light breaking into darkness. The style is stark and devotional — high‑contrast chiaroscuro, rough hand‑drawn texture, large fields of negative space, and a mostly monochrome palette with a single accent of blood‑red, gold or Lenten violet. There is no graphic violence, only symbolic hints: drops, thorns, nails, rays of light. Redemption asks what grace looks like when all that is left is charcoal, paper, and a quiet yes.
Token information
- Collection
- Redemption
- Token ID
- #263
- Subject
- Bowed Head with Thorns
- Composition / Scale
- Head-and-Shoulders Portrait
- Light Source
- Soft Light from Above
- Palette
- Pure Charcoal Monochrome
- Background / Space
- Soft Vignette of Darkness at Edges
- Symbol
- No Explicit Symbol
- Emotional Tone
- Penitent Surrender
- Rarity
- Common
Owner information
More from Redemption
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.
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.
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.