Betterland

Gregory Eddi Jones
1 owner
Ethereum
Provenance: Date of Original Mint: October 1st, 2021 Original Contract: Promise Land V.1 (OpenSea) Original Contract Address: https://etherscan.io/address/0x495f947276749ce646f68ac8c248420045cb7b5e Original Contract Location: https://opensea.io/collection/gregory-eddi-jones Original Token ID: 34911267789015011503796970138800999124751538794071981937758550590161638391809 Primary Sale Date: October 6, 2021 Primary Sale Price: 5.99 ETH Purchased by wallet: 0x1e739f880671c081951e974Cf781f92F61B1008C Sale Transaction: https://etherscan.io/tx/0x566818b65248d764189b176bbb180e66444089f860cee344f8e37c597d2f602d Proof of Burn of Original Token: https://etherscan.io/tx/0x4f3cccd969c340104e820939d3cf5511ec8b2bb6a73a21cdcdf7947ca3548878 Migrated to Promise Land V.2 on January 11, 2022 In Promise Land (2018-2021), American post-photographic artist Gregory Eddi Jones uses T.S. Eliot's modernist masterpiece, The Waste Land (1922), as its point of departure. In borrowing literary strategies from the poem and translating them into visual form, Promise Land is positioned as a collection of pictures that picks up where The Waste Land left off over 100 years ago. To produce this work, Jones appropriated and re-authored common stock and advertising photographs as his source material. From this material, the artist engages in strategies of digital composite and physical ink manipulation to craft a type of picture that is untethered from the traditional burdens of photography's relationships to truth and belief. Throughout Promise Land, Jones pulls inspiration from a range of influences including folk pictures and fairy-tale illustrations, to surrealism, stories of myth, common advertising tropes, and photo-historical traditions. The resulting project sums up to a visual symphony that harmonizes with a fracturing, "post-truth" contemporary world. Promise Land revisits what many consider to be the greatest poem of the twentieth century while simultaneously reimagining what photography can be.
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