Single-channel digital video
(With capacity for 15 auxiliary channels across variable aspect ratios [1:1 to 16:9] for multi-channel installation),
11:00 min, 4K, color, sound, 16:9,
Sound collaboration: Alexandre Montserrat (artist and researcher)
San Francisco, USA. 2025
This NFT verifies ownership of the full artwork.
The collector will receive a full version of the artwork, a 4K single-channel video lasting 11:00, and the other 15 channels for the multi-channel version.
The artist will retain a copy of the work for exhibition purposes and will not be entitled to sell it.
This video is part of the d/wb project.
The d/wb (desert/wet box) project, developed over a year across Madrid, London, and SF, CA, constitutes a sustained inquiry into the entangled domains of artificial intelligence, cybernetics, semiotics, and technological mediation. Composed of three interrelated works — the wet box, third extension, and fieldware — ,it functions as an experimental probe into the processes by which signs are produced, abstracted, and ultimately activated as vectors of value. Abstraction here is not treated as a secondary gesture of simplification, but as an active operative force that sustains both technocultural imaginaries and contemporary economies. Through this framework, d/wb positions itself within debates on Web3, tokenization, and the infrastructural dynamics of semiotic capitalism.
fieldware is conceived as a linguistic exploration of the object and its potential constitution through sign and mediation. Addressing both openness and the complex-hole, the work develops experimental pathways around abstraction as the production of meaning. Through the logic of “what comes off,” fieldware emerges as redundancy, a broken rhythmic play, a collapse of vanishing lines. It stages field and ware, ground and ground, operating on the sign as a gesture extended across a flat line until this continuity is abruptly interrupted by the brutal immediacy of form.
As the culminating work of the cycle, it expands into a distributed topology of image and sound, with up to sixteen screens across multiple aspect ratios. The sonic dimension, developed with Alexandre Montserrat, intensifies its dispersive qualities, situating the viewer in an immersive environment of fracture and resonance. In this way, fieldware stages the field not as metaphor but as operative condition: a topology where signs circulate, dissipate, and sediment into provisional objectivities, foregrounding meaning as an unstable and recursive event of mediation.
