Foundry Commission Tier

A set of 5 commissions awarded to up and coming photographers and mid career artists alike. Through the commission we enable them to fulfill their vision for a new project. We offer them a mentorship program and a curatorial partnership to help during the commission.
Commission Photographers

Josip Artuković

Tea Soaked Madeleins

In his novel Remembrance of Things Past, Marcel Proust defines the notion of involuntary memory by describing how remembrance deeply engraved in the past, evoked by the taste of a madeleine dipped in tea, occupies the narrator's present reality without his conscious effort. Referencing Proust's 'episode of the madeleine' with its title, the project Tea Soaked Madeleines explores my family's emotional history in order to trace the line that threads our past and defines our present. As stimuli of involuntary memories, mundane objects acquire symbolic significance while serving as metaphorical representations of the structure of memory.

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Fernando Gallegos


For a while I've been studying the language of the Latin American city through its urban awkwardness. A few months submerged in the NFT world have made me conscious of the apparent separation of both realities. In this work I look for the metaphorical fracture happening in the “real life” that makes the abstraction of the digital realm so appealing for some of us. These images, made late at night in the awkward metropolis of Monterrey, México, depict things and spaces in which there always seem to be something just beyond what's in front of us, as if we were at the edge of making a big discovery if we just took one step forward. As a group they create a landscape full of possibilities at the same time unsettling and exciting.

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Mickey Smith


The TIME & AGAIN collection explores the passage of time, grief and preservation of memory through the visual metaphor of the library. As technology advances, each layer of our cultural memory becomes thinner, more temporal and difficult to recall. Print resources naturally recede as information is migrated online. Bound newspapers were discarded once scanned onto microfilm. The dizzying instability of microfilm led to its demise. What remains are visual clues and symbols which cue where we must START or END as we engage with something, or someone, no longer tangible. Edges of scanned books frame brightly illuminated screens and stains of deterioration scar pages where there is no longer paper. Evolving and devolving, the photographs created for this collection began in print, were layered with a skin from the internet and designed to rest on the blockchain. The project title, TIME & AGAIN, was taken from a piece artist Lawrence Weiner wrote for Japanese conceptual artist On Kawara in 2002. In referencing Kawara's work, which dealt primarily with the passage of time, Weiner wrote: TIME & AGAIN TO STEP OUT OF HISTORY AS WE KNOW IT & AFFIRM THEY ARE STILL ALIVE AT LEAST FOR TODAY & AS A HOSTAGE OF HISTORY TO HOLD UP A NEWSPAPER TO ATTEST TO\nTHE REALITY OF HAVING GOTTEN TO THE PRESENT DOES DO GIVE ONE HOPE

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Gregory Eddi Jones

Hanami Blocks

“Hanami” is a Japanese phrase that refers to a gathering of friends and family around Sakura trees when they are in full bloom. This work superimposes the pursuit of bliss in nature with the consistent utopian promises offered by emergent technology. Via a production method of equal parts rules and chance, Hanami Blocks combines blockchain-native artistic conventions with experimental photographic and print-making practices. Using stock photographs of cherry blossoms as source material, Hanami Blocks undergo both physical and digital editing processes to travel the source material into a virtually native form. Hanami Blocks strives for a screen-native form of artistic presentation, sharing properties of windows and frames emanating with inner glows, and assimilating the image and the media in which it is experienced into a single experience of coalescence. The transformation from what are essentially nature photographs to virtual images mirrors human techno-historical trajectories in which we experience greater and greater layers of technological mediation that separate us from our origins.

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Claudia Pawlak

In Translation

“In Translation” is a collaboration between artist and machine; A bringing-together of the past and future of photography and artistic practice. Drawing inspiration from the cyanotype work of Anna Atkins as well as artist Claire Silver, a machine-learning algorithm was trained to create a unique set of otherworldly botanicals, which were then printed as cyanotypes. The nature of the cyanotype as a direct imposition of object-to-paper, facilitated by sunlight, leads one to assume the existence of the object being recorded. Through digital intervention, the object is instead replaced with a facsimile - one which suggests existence, though it exists only in the print. Through minting the works as NFTs, the process comes full-circle: Bringing that which was originally created in the digital world, back into it. Through an intersection of art, technology, and the historic photography process, these images provoke the viewer to question the authority of the image-document.

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