Getting ready 👾🏗️💥 @ArtBasel @_deafbeef

This is so very sad. David Hockney passed away. What an incredible artist and true loss to the art world and 🇬🇧

1/7 Ahead of @ArtBasel, Basel, our editor @knaack_nina put together a short series of artist spotlights. Today, we feature @_deafbeef – showing at Zero 10 curated by @eli_schein and @trevorpaglen – presented by @AspreyStudio ↓

From coding iron forging in the studio to live conversations💡 During @artbasel in Basel, @0xdeafbeef will join other leading artists and thinkers for a series of talks examining the future of generative art, technology, and authorship, with his works presented by Asprey Studio at Booth Z3, Zero 10, Event Hall. 📍 Monday 15 June Digital Art Summit, DEAFBEEF speaking at 11 AM Kino Camera, Rebgasse 1, 4058 Basel Link via @artmetaofficial 📍 Wednesday 17 June Panel Talk ‘How’re You Supposed to Pay the Rent These Days?’ With Auriea Harvey, Rafael Lozano-Hemmer, and 0xDEAFBEEF 5:30-6:30 PM Event Halle, Messe Basel Link via @artbasel website Visit Asprey Studio at Booth Z3, Zero 10, Messe Basel 16-21 June Enquire for further information on the presented works. Video: 0xDEAFBEEF, Hashmasks, Forged Iron - making of process by the artist

6/7 ⁠𝗜𝘀 𝘁𝗵𝗲𝗿𝗲 𝗮𝗻𝗼𝘁𝗵𝗲𝗿 𝘄𝗼𝗿𝗸 𝗼𝗿 𝗽𝗿𝗲𝘀𝗲𝗻𝘁𝗮𝘁𝗶𝗼𝗻 𝘄𝗶𝘁𝗵𝗶𝗻 𝗭𝗲𝗿𝗼 𝟭𝟬 𝘁𝗵𝗮𝘁 𝘆𝗼𝘂’𝗿𝗲 𝗲𝘀𝗽𝗲𝗰𝗶𝗮𝗹𝗹𝘆 𝗰𝘂𝗿𝗶𝗼𝘂𝘀 𝘁𝗼 𝘀𝗲𝗲, 𝗮𝗻𝗱 𝘄𝗵𝘆? Yes, @_deafbeef. I really appreciate his work, but I also know him as a typical web3 artist. He also really stands out in that scene, where the work he makes is so deeply rooted in art history like my own. And then to know he also is a blacksmith! I can’t wait to see his sculptural work as a fellow sculptor.

Counting down to @ArtBasel in Basel🇨🇭🔊 Presented by Asprey Studio, experience live generative sound, forged iron sculpture, and interactive systems by artist, engineer, and blacksmith @_deafbeef Featured works include Glitchbox, a participatory audiovisual installation that evolves in real time through audience interaction. Asprey Studio, Booth Z3, Zero 10 Messe Basel, Basel, Switzerland 16–21 June 2026

Think digital and electronic art are a recent invention? Their origins date back to the 1950s💡 Asprey Studio’s presentation at @artbasel in Basel, booth Z3, draws from a wider history of electronic image-making and visual music with a solo booth by @_deafbeef DEAFBEEF’s ‘Synth Poems: Oscilloscopes’ draw parallels to not only pioneering experiments of mathematician and artist Ben Laposky (1914–2000), but also those of filmmaker Mary Ellen Bute (1906–1983), who worked extensively with oscilloscopes, electronic signals, and moving abstract imagery decades before the emergence of digital graphics. In the 1950s, Bute and collaborator Theodore Nemeth manipulated oscilloscopes directly through knobs, switches, wave generators, and electronic controls to “draw” with beams of light, translating sound and mathematics into moving image. Their experiments searched for visual forms capable of complementing music through rhythm, signal, and motion. Similarly, Laposky used analogue oscilloscopes to manipulate electronic waves into visual forms he called “Oscillons” — among the earliest examples of electronic visual art. Presented alongside 0xDEAFBEEF’s installation are two original Laposky prints, situating Synth Poems within this historical lineage of oscilloscopic image-making, visual music, and electronically generated abstraction. Images: - Ben Laposky, Oscillon 42, 1953, vintage gelatin print. Courtesy of DEAFBEEF and Asprey Studio. - Ben Laposky with oscilloscope, undated. Courtesy Cherokee County Archives. - Mary Ellen Bute observing an oscilloscope image. Courtesy Center for Visual Music. - DEAFBEEF, Synth Poem: Oscilloscope. Visit us at Booth Z3, Zero 10, Messe Basel, Messeplatz 10, 4058 Switzerland 16–21 June 2026

Forged, welded, ground, and assembled by hand. Premiering at @artbasel in Basel in less than two weeks. While rooted in generative systems and code, the never-before-seen sculptures within "Synth Poem: Oscilloscopes" are entirely handcrafted by @_deafbeef using traditional blacksmithing techniques at his studio in Toronto, Canada. Hammer marks and traces of labour remain visible throughout the works, introducing material presence and individuality into computational systems. The project resonates with Asprey Studio’s ongoing exploration of traditional craftsmanship and digital innovation. Visit us at Booth Z3, Zero 10, Messe Basel, Messeplatz 10, 4058 Switzerland 16–21 June 2026

As we prepare for @artbasel in Basel in two weeks, we're reflecting on Asprey Studio's journey through Zero 10 — from Miami Beach 2025 to Hong Kong 2025. Collaborating with visionary artists working across physical and digital mediums, Asprey Studio’s presentations reflect the Studio’s ongoing exploration of how physical craftsmanship and digital culture can inform and expand one another. 📍 Zero 10, Booth Z3 Messe Basel, Switzerland 16–21 June 2026 Images: Asprey Studio presentations at Art Basel Miami Beach 2025 and Art Basel Hong Kong 2026.

June has arrived - two weeks until the opening of @ArtBasel in Basel 2026 🔥 At the core of the presentation are ‘Synth Poems’ (2021-26) by @_deafbeef, a series of on-chain generative audiovisual works, each paired with one physical sculpture (‘Oscilloscope’) in forged iron by the artist himself. Each digital Synth Poem piece is created at the moment of minting from a unique hash, producing distinct combinations of tempo, timbre, pitch, and structure. While primarily sonic, each work is accompanied by a visualisation derived directly from its audio signal, referencing early vector displays and oscilloscope imagery. The physical sculptures are inspired by analogue oscilloscopes, a type of electronic test instrument introduced in the late 19th-century that graphically displays varying voltages of signals as a function of time. Oscilloscopes are used in many different disciplines, including medicine, engineering and telecommunications. For historical context, the ‘Synth Poem: Oscilloscopes’ are presented along with two original prints by mathematician and artist Ben Laposky (1914–2000), who in the 1950s used an analogue oscilloscope to manipulate electronic waves into visual forms, pioneering early experiments in signal-based abstraction. Read more via our website - link in bio - and visit us at Booth Z3, Zero 10, Messe Basel, Messeplatz 10, 4058 Switzerland 16–21 June 2026 Images: 0xDEAFBEEF, Synth Poem: Oscilloscope, 2026, Forged iron, electronics, generative art Ben Laposky, Oscillon 16, 1953, Vintage silver gelatin print. Courtesy of DEAFBEEF and Asprey Studio.

“Invited to dive into the LACMA archives, I was immediately drawn to the chronophotographic work of Muybridge. In the 19th century, he developed new techniques to enable serial photography of people and animals in motion — images with an enigmatic quality that have been widely influential.” — @_deafbeef on his ‘Chronophotograph’ collection. Part of Asprey Studio’s presentation at @artbasel Zero 10 in Basel, opening on 16 June 2026, is ‘Chronophotographs’ by 0xDEAFBEEF, a series of procedurally generated images seeded by the block number, depicting figurative and abstract motion in different phases. Where pioneering English photographer Eadweard Muybridge (1830–1904) used sequential photography to analyse movement frame by frame, 0xDEAFBEEF translates this logic into blockchain-based systems. Blockchain, like chronophotography, operates as a time-based medium, with new blocks added approximately every twelve seconds.The block number at the precise moment of observation becomes the seed for the procedural generation of the image, producing snapshots of forms across phases of motion — digital chronophotographs embedded in time. This collection encourages reflections on the perception of time, consensus reality, photography and blockchain as markers of time, as sources of objective truth, and their limitations therein. Chronophotographs are each unique, randomly generated at the time of “observation”. The collection size is theoretically infinite — but our lifespans are finite. Read more via our website — link in bio — and visit us at Booth Z3, Zero 10, Messe Basel, Messeplatz 10, 4058 Basel, Switzerland. 16–21 June 2026. Images: 1. 0xDEAFBEEF, Chronophotographs #226, 2023, 1/1 platinum-Palladium photographic print paired with 1/1 digital artwork minted on blockchain 2. Eadweard Muybridge, detail of ‘Bouquet’, Galloping, 1887. Collotype on paper. Courtesy of Rijksmuseum, Amsterdam, NL

An interactive, user programmable generative glitch music sculpture is coming to Zero 10 at @artbasel in Basel in 3 weeks ⚒️👾🎮 A central element of Asprey Studio’s presentation by artist, musician, engineer, and blacksmith @_deafbeef in Basel is ‘Glitchbox’ (2021–25) by, a major interactive sculpture derived from the artist’s generative token series. Conceived as a programmable audiovisual instrument with handcrafted forged iron elements entirely crafted by the artist himself, ‘Glitchbox’ allows participants to manipulate parameters — analogous to the knobs and switches of a modular synthesizer — generating continuously evolving audiovisual compositions in real time. Each interaction changes what is seen and heard, positioning the artwork as a dynamic and participatory system rather than a fixed object. In parallel, the forged iron structure retains visible traces of labour and process, introducing material presence, imperfection, and individuality into generative systems. Come create an immutable artwork at Booth Z3, Zero 10, Messe Basel, Messeplatz 10, 4058 Basel, Switzerland, from 16–21 June 2026. Images: Details of ‘Glitchbox’, hand-forged iron, electronics, generative code

Asprey Studio is thrilled to announce its participation in @artbasel Basel 2026, taking place from 16–21 June in Switzerland. Following successful presentations in Miami Beach and Hong Kong, Asprey Studio will present a major solo project by generative artist, musician, engineer, programmer, and blacksmith @_deafbeef (b.1981), exhibiting at Booth Z3 in Zero 10, the section dedicated to art of the digital era. Bringing together generative digital works and handcrafted sculptures, the presentation explores the relationship between technology, materiality, sound, and contemporary craftsmanship. The physical dimension of 0xDEAFBEEF’s practice resonates with Asprey Studio’s longstanding expertise in precious metal craftsmanship. The sculptural forged iron works reflect a commitment to traditional handcraft while engaging with advanced digital technologies. This dialogue between material and immaterial processes defines the Studio’s approach to contemporary art-making, realised at its atelier in Kent, where silversmiths, goldsmiths, sculptors, and digital animators work side by side. Known for merging programming, engineering, music, and blacksmithing, 0xDEAFBEEF creates works that draw connections between early experimental image-making and contemporary generative systems. Read more via our website: aspreystudio.com/pages/aspre… 📍 Booth Z3, Event Hall, Zero 10, Messe Basel, Messeplatz 10, 4005 Basel, Switzerland 16–21 June 2026 Image: 0xDEAFBEEF, Glitchbox, 2021-26, Forged iron, electronics, generative code. Courtesy of the artist and Asprey Studio

Zero 10 is coming to Art Basel in Switzerland this June. Co-curated by Trevor Paglen, this edition is the most ambitious to date. It tracks the computer and digital art movement to its origins in the 1950s. Galleries include Hauser & Wirth, Spruth Magers, Marian Goodman, Almine Rech, Max Estrella, Andrew Kreps, eastcontemporary and Esther Schiller, joining @fellowshiptrust @nguyenwahed @artblocks_io @AspreyStudio @Interface_art @GazelliArtHouse @office_impart @bitforms @artmetaofficial. Plus a special presentation by HEK. Presenting artists: @_deafbeef @williamapan @andreasgysin @lennyjpg @JanRobertLeegte @john__gerrard Vera Molnar Harold Cohen Ryoji Ikeda Avery Singer Andreas Gursky Agnieszka Kurant Aziza Kadyri Hito Steryl Rafael Lozano-Hemmer

Now in its third edition, Zero 10—Art Basel’s global initiative dedicated to art of the digital era—makes its debut at our flagship fair. ➡️ Discover more of the Swiss edition of the initiative: artbasel.com/press/zero10/ba…

The past week, on Wednesday 29 April, @AspreyStudio, with the patronage of finance executive and art patron Benjamin Segal, has offered a unique, handcrafted, one-of-one silver portrait of His Majesty King Charles III at The @KingsTrust Global Gala Auction, at @ChristiesInc New York. The portrait sold for 80,000 USD. Sketched by Alastair Walker and realised by Asprey Studio's master silversmiths, with Andrew Murphy developing the mesh screens, the work reflects a collaboration rooted in craftsmanship and contemporary practice. In connection with the Trust, Murphy’s studio was established following participation in The Prince’s Trust Enterprise Programme (Southeast London, 2021), continuing the Trust’s legacy of supporting emerging enterprise. The portrait is realised through a meticulous process combining layered screen-printing with traditional silversmithing and goldsmithing techniques. From Walker’s initial sketch to hand-engraved silver elements produced at the Asprey Studio atelier in Kent, each stage is executed by hand, resulting in a one-of-a-kind piece. The screen-printing aesthetic references the late 1970s, echoing the visual language of the era in which The King’s Trust was founded, serving as both artistic inspiration and historical context. Rooted in heritage silversmithing, the work underscores the importance of preserving traditional craftsmanship - particularly as silver allied trades are now on the Red List of Endangered Crafts - while advancing the discipline through contemporary techniques.

The @AspreyStudio gallery is relocating to be under the same roof at the Asprey Studio Atelier in Kent. The new gallery will be far bigger and be a unique experience. I’m also planning digital art events in London and globally and it being more experience led. Stay Tuned

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