The Snoop Dogg Passport Series is the first ever evolving tour collectible. It's like a tour poster that evolves with each place Snoop stops on tour. Get behind the scenes with Snoop, collect some amazing art and get access to future Snoop drops and experiences.  

Find out more: [https://snooppassport.xyz](https://snooppassport.xyz)

Passport Genesis

Feeling exposed while being alone.  
Look around, not a single soul.  
Close your eyes and breathe.  
And fill your void in the soulless body.  

Was captured in Lagos, Portugal in 2021.  
Audio by latenightwithshowtime.

005 SOULLESS

Painted Heads explores painting as a mediated collaborative act. The heads were generated using AI, informed by their ultimate manifestation as fabricated painted (physical) objects, in collaboration with Tender and Artmatr.

Trained and degreed 100% in painting (MFA, BFA), and still maintaining a material based practice, this project resonated with me in a multitude of ways. Earlier in my career, I would have found the proposition of a synthetically fabricated painting anathema, as I held (near evangelical) beliefs that computation possessed its own inherent materiality and thus any attempts at material mimesis were at best kitsch and at worst plain evil.

A textured paint stroke is a natural by-product of an instrument being dragged across a canvas, and the expressive tendencies of the mark are the result of inner, psychological factors of the painter. Over the years I spoke (preached) often about computation having its own inherent materiality including a natural digital artifacting, comparable metaphorically to paint dripping, smearing, etc.

Based on my beliefs in the sanctity of an innate computing materiality, it seemed disingenuous to have computation attempt to mimic natural media/processes, or worse, reflect a romantic physical bias. So, as an obvious material maximalist, what attracted me to this project?

When Adam Berninger of Tender approached me about participating in the exhibition, he explained that Artmatr was not simply reproducing digital images with paint, but pursuing an innovative approach utilizing AI at a fundamental level. Their process involved a multistep, iterative application that also enabled a fair amount of customization; this intrigued me. I had already been thinking of ways of creating physical objects based on my AI NFT work, but hadn’t really gotten very far.

Now, the Painted Heads collection includes 31 AI generated heads, each released as an NFT, redeemable for a physically fabricated painting. The heads are intentionally expressive with extreme textural detail and simulated painterliness. Confronting my own bias against virtual texture/materiality, I wanted to also provide a visual prompt for collaborator Artmatr, as provocation. My hope was that a near impossible problem – recreating the thickness and dimensional textural detail in the images – could elicit new innovative solutions, from both the AI and their artisans.

This series is about “what I could have been” or “what I could have become” – but didn't. By using the professions and inspirations that I dreamed about as a child, these works narrate an alternate reality I could have imagined. All those things that did not come true, but still resonate with me, are somehow reflected in me – and now in these works.

*I would have liked to be a priest. But I didn't.
I would have liked to be an architect. But I didn't.
I would have liked to be a basketball star. But I didn't.
I'd like to be an angel. But I'm not.*

— Kirill Semenovich

Hidden talent

"Artists as Muse" is a reflection on the interplay between creation and creator, reality and imagination, and an exploration of the role of women in art history. In this series, I employ AI as a creative collaborator to “paint” vivid self-portraits of imagined female artists from different eras, at different points in their careers, each with their own unique artistic style.

Rather being the subject of the male gaze, these women artists are their own muse. These portraits are a gateway into alternate art histories, a contemplation of the multifaceted nature of self, and an exploration of the standards of beauty and femininity embedded within capitalist paradigms. 

Art history is not a monolithic entity, but a tapestry woven from countless threads. This series seeks to expand our understanding of this tapestry by inviting us to envision what could have been.

Hilma

There is one face we let the world see, there is one we reveal to those closest to us, and there is one we keep hidden from all. These three expressions reflect our relationship with the world. This notion is taken from an old proverb, serving as the inspiration for my heptaptych, and binding the seven artworks with an invisible thread of shared human experience, named after distinct facial expressions.

At the core of this series are three primary pieces. The first reveals the persona we present to the world — a harmonious blend of our public engagements and collective memories. The second delves into the tenderness we reserve for our loved ones, unveiling our genuine emotions and vulnerabilities. The third showcases what we keep hidden, harboring our deepest fears, aspirations, and untold tales. These central pieces not only reflect the multifaceted nature of human identity but also carry fragments of myself, acting as a mirror to both the artist and the viewer.

Supporting these key pieces are four supplementary works, seamlessly connecting to the central theme. Together, the seven works’ titles are derived from the expressions the human face can display: fear, contempt, surprise, sadness, happiness, anger, and disgust. It's a touch of irony since my artwork intentionally avoids showing full faces, hinting at the power of the unsaid and the mystery of the unseen. While each individual piece tempts viewers to explore its own tale, collectively they trace the broad arc of human emotion. Each work is designed to be both abstract and detailed, ensuring that every angle offers a fresh perspective while preserving a sense of softness and harmony.

 
Adding to the collections versatility, each artwork can stand alone or can feed from a hidden synergy that allows them to connect and form larger stories. The pieces are designed to be rearranged — the outer artworks can slide beside the central trio, forming triptychs that showcase the deep ties between our varied expressions.

Imagining these works dispersing across the globe fascinates me. That they potentially scatter across distant corners of the world, mirrors the very essence of our varied emotions and shifting expressions. Like us, they will traverse varied landscapes, each piece a reflection waiting to be understood by a different observer. While they may spread out and find different homes, there's a lingering mystery: will they ever come together again? Born from a single vision, they now set out on their own distinct paths.

Disgust

The Snoop Dogg Passport Series is the first ever evolving tour collectible. It’s like a tour poster that evolves with each place Snoop stops on tour. Get behind the scenes with Snoop, collect some amazing art, and get access to future Snoop drops and experiences.

Find out more: https://snooppassport.xyz

The Snoop Dogg Passport Series

001 SOULLESS

SOULLESS

Painted Heads explores painting as a mediated collaborative act. The heads were generated using AI, informed by their ultimate manifestation as fabricated painted (physical) objects, in collaboration with Tender and Artmatr.

Trained and degreed 100% in painting (MFA, BFA), and still maintaining a material based practice, this project resonated with me in a multitude of ways. Earlier in my career, I would have found the proposition of a synthetically fabricated painting anathema, as I held (near evangelical) beliefs that computation possessed its own inherent materiality and thus any attempts at material mimesis were at best kitsch and at worst plain evil.

Painted Heads

The Guardian

Not Me

Louise

"Artists as Muse" is a reflection on the interplay between creation and creator, reality and imagination, and an exploration of the role of women in art history. In this series, I employ AI as a creative collaborator to "paint" vivid self-portraits of imagined female artists from different eras, at different points in their careers, each with their own unique artistic style.

Rather being the subject of the male gaze, these women artists are their own muse. These portraits are a gateway into alternate art histories, a contemplation of the multifaceted nature of self, and an exploration of the standards of beauty and femininity embedded within capitalist paradigms. 

Art history is not a monolithic entity, but a tapestry woven from countless threads. This series seeks to expand our understanding of this tapestry by inviting us to envision what could have been.

Artists as Muse

In this deeply personal series, I breathe life into older women woven together by shared emotions. This collection is a glimpse into my self-portrait journey, where I confront my own aging fears. It all began three decades ago, ignited by a fascination for painting older women. The rush of emotions, a blend of profound positivity and negativity, transformed aging bodies into my canvas – a cathartic passage through time's embrace.

In the realm of AI-infused artistry, paint and paper cloak segments of the work, much like the hidden corners of our selves. Do these veiled fragments hide or expose the essence within? This echoes the ever-evolving layers we unveil or conceal as we journey through aging. As a traditional painter, I employ patches of paint, revealing or obscuring the genuine beneath, prompting contemplation of our shared boundaries between privacy and openness.

A choreography of abstract forms and tangible images unfolds, a dance echoing life's beautiful chaos. Colours and shapes intertwine, a mirror of existence's complexity where dreams coalesce with reality.

As these women shift perspectives or unite, they grapple with self-love and self-discovery, echoing the universal voyage we all undertake with age. It's a potent blend of strength and vulnerability. A recurring motif is the presence of letters – words that hold both the desire to share and the allure of the shadowed self.

Through my art, I seek to capture our timeless human narrative – a tale etched with joyous highs and somber lows. My canvas is a mirror reflecting the intricacies of existence. Just as the artistic process evolves, so does life, in an ever-changing journey – forever precious and unique.

Aging's Wistful Gaze

In this deeply personal series, I breathe life into older women woven together by shared emotions. This collection is a glimpse into my self-portrait journey, where I confront my own aging fears. It all began three decades ago, ignited by a fascination for painting older women. The rush of emotions, a blend of profound positivity and negativity, transformed aging bodies into my canvas – a cathartic passage through time's embrace.

Sitting with Shadows

Ephemeral Strokes

The "Threads of Time: The Modern Allegories" series blends Renaissance art aesthetic with contemporary branding and technology, using AI to induce the Mandela Effect by blurring the lines of time and memory, as if this modern attire donned such Renaissance-era figures.

As familiar icons of Nike, Apple, and the American Flag seamlessly integrate into classical scenes, viewers are left questioning the longevity of these symbols and perhaps altering our perception of history. While no formal affiliation exists between this series and the brands displayed, their use has become a critical component in the artist’s body of work. The juxtaposition of period-specific iconography invites us to recognize the common pursuit of beauty throughout time, while embracing the overt evolutions that are shaping this new era.

Each piece in this collection further explores themes such as compassion, exploration, empowerment, and innovation while celebrating the harmonious fusion between tradition and modernity, even antiquity and contemporary fashion. The subjects in these paintings embody diverse aspects of the modern human experience – from nurturing life on Earth to safeguarding digital assets. Together, each painting represents a quintessential allegory of the topics most critical to today’s culturally connected world.

The Stellar Mother

The "Threads of Time: The Modern Allegories" series blends Renaissance art aesthetic with contemporary branding and technology, using AI to induce the Mandela Effect by blurring the lines of time and memory, as if this modern attire donned such Renaissance-era figures.

As familiar icons of Nike, Apple, and the American Flag seamlessly integrate into classical scenes, viewers are left questioning the longevity of these symbols and perhaps altering our perception of history. While no formal affiliation exists between this series and the brands displayed, their use has become a critical component in the artist’s body of work. The juxtaposition of period-specific iconography invites us to recognize the common pursuit of beauty throughout time, while embracing the overt evolutions that are shaping this new era.

Lord of Innovation

Threads of Time: The Modern Allegories

Surprise

There is one face we let the world see, there is one we reveal to those closest to us, and there is one we keep hidden from all. These three expressions reflect our relationship with the world. This notion is taken from an old proverb, serving as the inspiration for my heptaptych, and binding the seven artworks with an invisible thread of shared human experience, named after distinct facial expressions.

At the core of this series are three primary pieces. The first reveals the persona we present to the world — a harmonious blend of our public engagements and collective memories. The second delves into the tenderness we reserve for our loved ones, unveiling our genuine emotions and vulnerabilities. The third showcases what we keep hidden, harboring our deepest fears, aspirations, and untold tales. These central pieces not only reflect the multifaceted nature of human identity but also carry fragments of myself, acting as a mirror to both the artist and the viewer.

The Three Faces

During their time, the impressionists were creating new interpretations of reality, employing novel techniques, and ridiculed by the establishment. However, looking backward, they are the defining movement of modern art, gracing textbook covers and museum banners. 

The radicals have been adopted.

Today, as someone who explores creative AI, I focus much of my work on impressionist and post-impressionist style paintings, reimagining these now definitionally "establishment" techniques to create new views of reality, using new technology, and doing so in the domain considered somewhere between trite novelty and heretical: artificial intelligence.
 
It's within this frame that I often explore new AI models to see what they are capable of. What brushstrokes can I call from within their machine learning? What colors can I evoke?

Using a particularly scorned model (SDXL Beta v.9), I found that perhaps it was misunderstood. When I adjusted the settings to give myself less control, I encountered beautiful, haunting impressions. Abstract images. Figures that blended back and forth into the brushstrokes.

I soon was drawn to a recurring character, a red-headed man whose hair was so vibrant that it came to bear on even the most chaotic, low-control settings.

I found myself literally chasing this vision through the latent space. Generating countless images, all wisps and impressions from this "broken" model. Only once I had completed the set did I realize whose distorted reflection had been whispering to me through the tortured brushstrokes of the machine.

Four

During their time, the impressionists were creating new interpretations of reality, employing novel techniques, and ridiculed by the establishment. However, looking backward, they are the defining movement of modern art, gracing textbook covers and museum banners. 

The radicals have been adopted.

Today, as someone who explores creative AI, I focus much of my work on impressionist and post-impressionist style paintings, reimagining these now definitionally "establishment" techniques to create new views of reality, using new technology, and doing so in the domain considered somewhere between trite novelty and heretical: artificial intelligence.
 
It's within this frame that I often explore new AI models to see what they are capable of. What brushstrokes can I call from within their machine learning? What colors can I evoke?

Whisper

“Hive Mind” is a collection of 26 portraits that pay tribute to the global studio of digital artists collaborating with AI presently, who are all pushing the boundaries of what is possible with these tools. Those working with AI have witnessed the fast evolution of the tools and their respective aesthetic ‘improvements’ toward a near perfect photo-realism. 

Instead of chasing this ‘perfection of form’ however, Lily reveres the imperfect formal anomalies cast through the diffusion process, when AI models are pushed past their various training parameters, and begin to fill noise with uncanny and surprising beauty. For Lily, these artifacts are born from the computational ‘mind’ of artificial intelligence, and are indicative of the tool as much as paint drips and or chisel marks. 

These portraits continue the artist’s interest in exploring pattern and texture through AI tools, while also directly referencing her day to day life, in this case her child’s recent dance with a skin condition, and all the ways self-image can be altered by such ailments. Life weaves into the written prompt as a conceptual form of journaling that dissipates challenges into a shared conversation held by the art itself.

*Hive Mind* is both a celebration of the anomalies of the skin and the anomalies of AI, a celebration of the beauty of imperfections found in life and latent space.

“Hive Mind” is a collection of 26 portraits that pay tribute to the global studio of digital artists collaborating with AI presently, who are all pushing the boundaries of what is possible with these tools. Those working with AI have witnessed the fast evolution of the tools and their respective aesthetic ‘improvements’ toward a near perfect photo-realism. 

Instead of chasing this ‘perfection of form’ however, Lily reveres the imperfect formal anomalies cast through the diffusion process, when AI models are pushed past their various training parameters, and begin to fill noise with uncanny and surprising beauty. For Lily, these artifacts are born from the computational ‘mind’ of artificial intelligence, and are indicative of the tool as much as paint drips and or chisel marks. 

Hive Mind

"Return to Eden" is a heartfelt journey through a world where peace blooms amidst chaos, and a reflection of my quest for sanctuary within splashes of color and strokes of the brush. It’s about those precious moments where the world fades away, and all that remains is a garden of one’s own making, a place where reality is soft and the air is sweet with the scent of blooming tranquility. This collection is an intimate glimpse into soul seeking, finding, and cherishing moments of serene escape in a world ablaze. It’s a warm embrace, a soft whisper, inviting you to find your own ephemeral eden within.

Silent Contemplation

Reverie

Return to Eden

During their time, the impressionists were creating new interpretations of reality, employing novel techniques, and ridiculed by the establishment. However, looking backward, they are the defining movement of modern art, gracing textbook covers and museum banners. 

The radicals have been adopted.

Today, as someone who explores creative AI, I focus much of my work on impressionist and post-impressionist style paintings, reimagining these now definitionally "establishment" techniques to create new views of reality, using new technology, and doing so in the domain considered somewhere between trite novelty and heretical: artificial intelligence.
 
It's within this frame that I often explore new AI models to see what they are capable of. What brushstrokes can I call from within their machine learning? What colors can I evoke?

Using a particularly scorned model (SDXL Beta), I found that perhaps it was misunderstood. When I adjusted the settings to give myself less control, I encountered beautiful, haunting impressions. Abstract images. Figures that blended back and forth into the brushstrokes.

I soon was drawn to a recurring character, a red-headed man whose hair was so vibrant that it came to bear on even the most chaotic, low-control settings.

I found myself literally chasing this vision through the latent space. Generating countless images, all wisps and impressions from this "broken" model. Only once I had completed the set did I realize whose distorted reflection had been whispering to me through the tortured brushstrokes of the machine.

Whisper Seven

During their time, the impressionists were creating new interpretations of reality, employing novel techniques, and ridiculed by the establishment. However, looking backward, they are the defining movement of modern art, gracing textbook covers and museum banners. 

The radicals have been adopted.

Today, as someone who explores creative AI, I focus much of my work on impressionist and post-impressionist style paintings, reimagining these now definitionally "establishment" techniques to create new views of reality, using new technology, and doing so in the domain considered somewhere between trite novelty and heretical: artificial intelligence.

Whisper Four

WHISPERS

No Bad Trips
Peace & Love
Killer Acid, Vodnik
2025

No Bad Trippers #2158

No Bad Trippers by Killer Acid x Vodnik is 2 years and 5000 miles in the making...

Created by discord pals on opposite ends of the planet who have never met or spoken IRL. Killer Acid and Vodnik first connected over their mutual love for Cryptoadz, DickButts, and other pixel art collections. The suggestion came about to create a PFP collection, translating classic Killer Acid characters into pixel form. The collection also includes trippy op-art backgrounds provided by Sierra Siemer, a frequent Killer Acid collaborator.

Many of the characters are the little doods found scattered and hidden in Killer Acid drawings. Hundreds of traits and 3,000 doodles later, No Bad Trippers was born, meticulously crafted by the hand of Vodnik, a pixel-placing goblin, a bog creature, and full-time psychedelic enjoyoor.

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