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Primetheus I, 2026
Video (color, sound), LED display, adhesive polyester canvas

🦅

Primetheus I, 2026
Video (color, sound), LED display, adhesive polyester canvas

🦅

Primetheus I, 2026
Video (color, sound), LED display, adhesive polyester canvas

🦅

Primetheus I, 2026
Video (color, sound), LED display, adhesive polyester canvas

🦅

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

Care has become a commodity. Platforms engineer intimacy virtual pets, AI companions, gamified affection converting emotion into data and attention into profit.

But some artists are building digital beings that refuse to be optimized. @boramurmure and @jonmonaghan ask what it would mean to care for something that resists capture altogether.

Interviews by @f.wvn

Edited by @jamisonkh4

Read the full zine at artdao.xyz or via link in bio

"Lush Pixels"
On view through April 17th
Memorial Gallery, Hale Hall
Farmingdale State College on Long Island

Curated by Beth Giacummo

Gallery is open Monday-Friday 8:30am to 4:30pm

A focused survey of my work from the past 11 years.

🙃

"Lush Pixels"
On view through April 17th
Memorial Gallery, Hale Hall
Farmingdale State College on Long Island

Curated by Beth Giacummo

Gallery is open Monday-Friday 8:30am to 4:30pm

A focused survey of my work from the past 11 years.

🙃

"Lush Pixels"
On view through April 17th
Memorial Gallery, Hale Hall
Farmingdale State College on Long Island

Curated by Beth Giacummo

Gallery is open Monday-Friday 8:30am to 4:30pm

A focused survey of my work from the past 11 years.

🙃

"French Penguin", 2009
video (color, sound), media player, screen or projector, 2 min 35 sec
edition of 3, 1AP

One of my first 'cinematic' video installations made during my first year of grad school. 17 years ago, wow, I'm old.

This short 3D animation fuses Gothic architecture with an Emperor Penguin, creating a new absurd life form that is in a never-ending cycle of eating its own young. At the time, it was a breakthrough for me. Selected by @ryantrecartin for a group show at @voxpopuligallery and winner of the @wpadc Experimental Media Prize selected by Associate Curator Kelly Gordon, with a screening at the @hirshhorn , among numerous other international festivals and exhibitions.

🐧

"French Penguin", 2009
video (color, sound), media player, screen or projector, 2 min 35 sec
edition of 3, 1AP

One of my first 'cinematic' video installations made during my first year of grad school. 17 years ago, wow, I'm old.

This short 3D animation fuses Gothic architecture with an Emperor Penguin, creating a new absurd life form that is in a never-ending cycle of eating its own young. At the time, it was a breakthrough for me. Selected by @ryantrecartin for a group show at @voxpopuligallery and winner of the @wpadc Experimental Media Prize selected by Associate Curator Kelly Gordon, with a screening at the @hirshhorn , among numerous other international festivals and exhibitions.

🐧

"French Penguin", 2009
video (color, sound), media player, screen or projector, 2 min 35 sec
edition of 3, 1AP

One of my first 'cinematic' video installations made during my first year of grad school. 17 years ago, wow, I'm old.

This short 3D animation fuses Gothic architecture with an Emperor Penguin, creating a new absurd life form that is in a never-ending cycle of eating its own young. At the time, it was a breakthrough for me. Selected by @ryantrecartin for a group show at @voxpopuligallery and winner of the @wpadc Experimental Media Prize selected by Associate Curator Kelly Gordon, with a screening at the @hirshhorn , among numerous other international festivals and exhibitions.

🐧

"French Penguin", 2009
video (color, sound), media player, screen or projector, 2 min 35 sec
edition of 3, 1AP

One of my first 'cinematic' video installations made during my first year of grad school. 17 years ago, wow, I'm old.

This short 3D animation fuses Gothic architecture with an Emperor Penguin, creating a new absurd life form that is in a never-ending cycle of eating its own young. At the time, it was a breakthrough for me. Selected by @ryantrecartin for a group show at @voxpopuligallery and winner of the @wpadc Experimental Media Prize selected by Associate Curator Kelly Gordon, with a screening at the @hirshhorn , among numerous other international festivals and exhibitions.

🐧

Test animation from new installation 🦌🎧

Happy to say The Checkpoint Wire (2014), ed 1 of 3, sold at the @wpadc 's Art Night 2K25 last week at @hickokcole in D.C. This event raised over $140k to support the Washington Project for the Arts. 

This work is from a series of prints, sculptures, and animations I created in 2014 that directly reference a highly-detailed 16th-century monumental woodcut print of a triumphal arch, commissioned by the Holy Roman Emperor Maximilian I. It was one of the largest prints ever produced at the time (116 x 141 in) and was intended to be self-aggrandizing propaganda in public areas.

In my series, the triumphal arch features surveillance equipment, a Whole Foods, and clinical, bougie architectural aesthetics; a tongue-in-cheek mounment to the triumph of late stage capitalism.

Art Night 2K25 took place a day after President Trump unveiled models for a triumphal arch to be erected in Washington, D.C., a funny coincidence to have this work included. Other editions are still available until October 23rd, proceeds going to support the Washington Project for the Arts.

Happy to say The Checkpoint Wire (2014), ed 1 of 3, sold at the @wpadc 's Art Night 2K25 last week at @hickokcole in D.C. This event raised over $140k to support the Washington Project for the Arts. 

This work is from a series of prints, sculptures, and animations I created in 2014 that directly reference a highly-detailed 16th-century monumental woodcut print of a triumphal arch, commissioned by the Holy Roman Emperor Maximilian I. It was one of the largest prints ever produced at the time (116 x 141 in) and was intended to be self-aggrandizing propaganda in public areas.

In my series, the triumphal arch features surveillance equipment, a Whole Foods, and clinical, bougie architectural aesthetics; a tongue-in-cheek mounment to the triumph of late stage capitalism.

Art Night 2K25 took place a day after President Trump unveiled models for a triumphal arch to be erected in Washington, D.C., a funny coincidence to have this work included. Other editions are still available until October 23rd, proceeds going to support the Washington Project for the Arts.

Happy to say The Checkpoint Wire (2014), ed 1 of 3, sold at the @wpadc 's Art Night 2K25 last week at @hickokcole in D.C. This event raised over $140k to support the Washington Project for the Arts. 

This work is from a series of prints, sculptures, and animations I created in 2014 that directly reference a highly-detailed 16th-century monumental woodcut print of a triumphal arch, commissioned by the Holy Roman Emperor Maximilian I. It was one of the largest prints ever produced at the time (116 x 141 in) and was intended to be self-aggrandizing propaganda in public areas.

In my series, the triumphal arch features surveillance equipment, a Whole Foods, and clinical, bougie architectural aesthetics; a tongue-in-cheek mounment to the triumph of late stage capitalism.

Art Night 2K25 took place a day after President Trump unveiled models for a triumphal arch to be erected in Washington, D.C., a funny coincidence to have this work included. Other editions are still available until October 23rd, proceeds going to support the Washington Project for the Arts.

Happy to say The Checkpoint Wire (2014), ed 1 of 3, sold at the @wpadc 's Art Night 2K25 last week at @hickokcole in D.C. This event raised over $140k to support the Washington Project for the Arts. 

This work is from a series of prints, sculptures, and animations I created in 2014 that directly reference a highly-detailed 16th-century monumental woodcut print of a triumphal arch, commissioned by the Holy Roman Emperor Maximilian I. It was one of the largest prints ever produced at the time (116 x 141 in) and was intended to be self-aggrandizing propaganda in public areas.

In my series, the triumphal arch features surveillance equipment, a Whole Foods, and clinical, bougie architectural aesthetics; a tongue-in-cheek mounment to the triumph of late stage capitalism.

Art Night 2K25 took place a day after President Trump unveiled models for a triumphal arch to be erected in Washington, D.C., a funny coincidence to have this work included. Other editions are still available until October 23rd, proceeds going to support the Washington Project for the Arts.

Happy to say The Checkpoint Wire (2014), ed 1 of 3, sold at the @wpadc 's Art Night 2K25 last week at @hickokcole in D.C. This event raised over $140k to support the Washington Project for the Arts. 

This work is from a series of prints, sculptures, and animations I created in 2014 that directly reference a highly-detailed 16th-century monumental woodcut print of a triumphal arch, commissioned by the Holy Roman Emperor Maximilian I. It was one of the largest prints ever produced at the time (116 x 141 in) and was intended to be self-aggrandizing propaganda in public areas.

In my series, the triumphal arch features surveillance equipment, a Whole Foods, and clinical, bougie architectural aesthetics; a tongue-in-cheek mounment to the triumph of late stage capitalism.

Art Night 2K25 took place a day after President Trump unveiled models for a triumphal arch to be erected in Washington, D.C., a funny coincidence to have this work included. Other editions are still available until October 23rd, proceeds going to support the Washington Project for the Arts.

Happy to say The Checkpoint Wire (2014), ed 1 of 3, sold at the @wpadc 's Art Night 2K25 last week at @hickokcole in D.C. This event raised over $140k to support the Washington Project for the Arts. 

This work is from a series of prints, sculptures, and animations I created in 2014 that directly reference a highly-detailed 16th-century monumental woodcut print of a triumphal arch, commissioned by the Holy Roman Emperor Maximilian I. It was one of the largest prints ever produced at the time (116 x 141 in) and was intended to be self-aggrandizing propaganda in public areas.

In my series, the triumphal arch features surveillance equipment, a Whole Foods, and clinical, bougie architectural aesthetics; a tongue-in-cheek mounment to the triumph of late stage capitalism.

Art Night 2K25 took place a day after President Trump unveiled models for a triumphal arch to be erected in Washington, D.C., a funny coincidence to have this work included. Other editions are still available until October 23rd, proceeds going to support the Washington Project for the Arts.

Happy to say The Checkpoint Wire (2014), ed 1 of 3, sold at the @wpadc 's Art Night 2K25 last week at @hickokcole in D.C. This event raised over $140k to support the Washington Project for the Arts. 

This work is from a series of prints, sculptures, and animations I created in 2014 that directly reference a highly-detailed 16th-century monumental woodcut print of a triumphal arch, commissioned by the Holy Roman Emperor Maximilian I. It was one of the largest prints ever produced at the time (116 x 141 in) and was intended to be self-aggrandizing propaganda in public areas.

In my series, the triumphal arch features surveillance equipment, a Whole Foods, and clinical, bougie architectural aesthetics; a tongue-in-cheek mounment to the triumph of late stage capitalism.

Art Night 2K25 took place a day after President Trump unveiled models for a triumphal arch to be erected in Washington, D.C., a funny coincidence to have this work included. Other editions are still available until October 23rd, proceeds going to support the Washington Project for the Arts.

Happy to say The Checkpoint Wire (2014), ed 1 of 3, sold at the @wpadc 's Art Night 2K25 last week at @hickokcole in D.C. This event raised over $140k to support the Washington Project for the Arts. 

This work is from a series of prints, sculptures, and animations I created in 2014 that directly reference a highly-detailed 16th-century monumental woodcut print of a triumphal arch, commissioned by the Holy Roman Emperor Maximilian I. It was one of the largest prints ever produced at the time (116 x 141 in) and was intended to be self-aggrandizing propaganda in public areas.

In my series, the triumphal arch features surveillance equipment, a Whole Foods, and clinical, bougie architectural aesthetics; a tongue-in-cheek mounment to the triumph of late stage capitalism.

Art Night 2K25 took place a day after President Trump unveiled models for a triumphal arch to be erected in Washington, D.C., a funny coincidence to have this work included. Other editions are still available until October 23rd, proceeds going to support the Washington Project for the Arts.

Happy to say The Checkpoint Wire (2014), ed 1 of 3, sold at the @wpadc 's Art Night 2K25 last week at @hickokcole in D.C. This event raised over $140k to support the Washington Project for the Arts. 

This work is from a series of prints, sculptures, and animations I created in 2014 that directly reference a highly-detailed 16th-century monumental woodcut print of a triumphal arch, commissioned by the Holy Roman Emperor Maximilian I. It was one of the largest prints ever produced at the time (116 x 141 in) and was intended to be self-aggrandizing propaganda in public areas.

In my series, the triumphal arch features surveillance equipment, a Whole Foods, and clinical, bougie architectural aesthetics; a tongue-in-cheek mounment to the triumph of late stage capitalism.

Art Night 2K25 took place a day after President Trump unveiled models for a triumphal arch to be erected in Washington, D.C., a funny coincidence to have this work included. Other editions are still available until October 23rd, proceeds going to support the Washington Project for the Arts.

À voir | On view 👀 @jonmonaghan

A l’occasion de l’exposition 𝙓𝙑
Jonathan Monaghan, After Fabergé, 2014
After Fabergé est une série d’impressions qui synthétise l’expérience de consommation de masse liée à la technologie et aux objets de luxe. Mélangeant anatomie et design, ces compositions extrêmement détaillées évoquent des réalités alternatives, voire des obsessions fétichistes. Les œufs sont ornés d’orifices humains, de bouches d’évacuation industrielles, de plugs USB - et même d’un café Starbucks. Étincelants de détails décoratifs et se détachant sur un fond blanc immaculé, leur apparence évoque la fonctionnalité des produits commerciaux. Pourtant, ces oeufs ne répondent à aucune fonction, dotant ces objets virtuels d’un étrange et inquiétant pouvoir.
-
On the occasion of the exhibition 𝙓𝙑
Jonathan Monaghan, After Fabergé, 2014
After Fabergé is a series of prints that synthesizes the mass consumer experience linked to technology and luxury items. Blending anatomy and design, these extremely detailed compositions evoke alternative realities, even fetishistic obsessions. The eggs are adorned with human orifices, industrial drain pipes, USB plugs—and even a Starbucks coffee. Sparkling with decorative details and standing out against a pristine white background, their appearance evokes the functionality of commercial products. Yet these eggs serve no purpose, endowing these virtual objects with a strange and disturbing power.

🖼️
Jonathan Monaghan
JT-O Interrogator Egg, After Fabergé (série), 2014
Impression jet d’encre sur papier photo brillant Hahnemühle monté sur Dibond
Inkjet print on Hahnemühle photo luster mounted on dibond
145 x 109,2 cm
57 x 43 inches

𝗫𝗩
Exposition collective / Group show
🗓️14/09 - 25/10/2025
avec / with

@paulinebastard
@cecilebeau
@jeromeboccia
@alixboillot
@nicolasmboulard
@emiliebrout_maximemarion
@jeanbaptistecaron
@paolaciar
@caroline_delieutraz
@marcoemmy
@ellande_jaureguiberry
@claudia_larcher
@jonmonaghan
@liddy_scheffknecht
@mayuratorii

@komunuma

À voir | On view 👀 @jonmonaghan

A l’occasion de l’exposition 𝙓𝙑
Jonathan Monaghan, After Fabergé, 2014
After Fabergé est une série d’impressions qui synthétise l’expérience de consommation de masse liée à la technologie et aux objets de luxe. Mélangeant anatomie et design, ces compositions extrêmement détaillées évoquent des réalités alternatives, voire des obsessions fétichistes. Les œufs sont ornés d’orifices humains, de bouches d’évacuation industrielles, de plugs USB - et même d’un café Starbucks. Étincelants de détails décoratifs et se détachant sur un fond blanc immaculé, leur apparence évoque la fonctionnalité des produits commerciaux. Pourtant, ces oeufs ne répondent à aucune fonction, dotant ces objets virtuels d’un étrange et inquiétant pouvoir.
-
On the occasion of the exhibition 𝙓𝙑
Jonathan Monaghan, After Fabergé, 2014
After Fabergé is a series of prints that synthesizes the mass consumer experience linked to technology and luxury items. Blending anatomy and design, these extremely detailed compositions evoke alternative realities, even fetishistic obsessions. The eggs are adorned with human orifices, industrial drain pipes, USB plugs—and even a Starbucks coffee. Sparkling with decorative details and standing out against a pristine white background, their appearance evokes the functionality of commercial products. Yet these eggs serve no purpose, endowing these virtual objects with a strange and disturbing power.

🖼️
Jonathan Monaghan
JT-O Interrogator Egg, After Fabergé (série), 2014
Impression jet d’encre sur papier photo brillant Hahnemühle monté sur Dibond
Inkjet print on Hahnemühle photo luster mounted on dibond
145 x 109,2 cm
57 x 43 inches

𝗫𝗩
Exposition collective / Group show
🗓️14/09 - 25/10/2025
avec / with

@paulinebastard
@cecilebeau
@jeromeboccia
@alixboillot
@nicolasmboulard
@emiliebrout_maximemarion
@jeanbaptistecaron
@paolaciar
@caroline_delieutraz
@marcoemmy
@ellande_jaureguiberry
@claudia_larcher
@jonmonaghan
@liddy_scheffknecht
@mayuratorii

@komunuma

We’re excited to host a talk with Jonathan Monaghan on Sunday, October 19 at 1pm!

This is a unique chance to hear about his process and learn more about the site specific works he made for Rochester with bits of architecture from the Granite Building, The Powers Building and the HH Warner Building.

Jonathan Monaghan is a contemporary artist whose prints, sculptures, and immersive video installations weave together elements of ancient mythology, science fiction, and popular culture. His current exhibition at RoCo, “A Trace Left by the Future” explores the intersections of art history, power, and technology in the digital age in an imaginative and satirical critique that challenges viewers to examine their relationship with these forces.

@jonmonaghan @bleucease

We’re excited to host a talk with Jonathan Monaghan on Sunday, October 19 at 1pm!

This is a unique chance to hear about his process and learn more about the site specific works he made for Rochester with bits of architecture from the Granite Building, The Powers Building and the HH Warner Building.

Jonathan Monaghan is a contemporary artist whose prints, sculptures, and immersive video installations weave together elements of ancient mythology, science fiction, and popular culture. His current exhibition at RoCo, “A Trace Left by the Future” explores the intersections of art history, power, and technology in the digital age in an imaginative and satirical critique that challenges viewers to examine their relationship with these forces.

@jonmonaghan @bleucease

We’re excited to host a talk with Jonathan Monaghan on Sunday, October 19 at 1pm!

This is a unique chance to hear about his process and learn more about the site specific works he made for Rochester with bits of architecture from the Granite Building, The Powers Building and the HH Warner Building.

Jonathan Monaghan is a contemporary artist whose prints, sculptures, and immersive video installations weave together elements of ancient mythology, science fiction, and popular culture. His current exhibition at RoCo, “A Trace Left by the Future” explores the intersections of art history, power, and technology in the digital age in an imaginative and satirical critique that challenges viewers to examine their relationship with these forces.

@jonmonaghan @bleucease

We’re excited to host a talk with Jonathan Monaghan on Sunday, October 19 at 1pm!

This is a unique chance to hear about his process and learn more about the site specific works he made for Rochester with bits of architecture from the Granite Building, The Powers Building and the HH Warner Building.

Jonathan Monaghan is a contemporary artist whose prints, sculptures, and immersive video installations weave together elements of ancient mythology, science fiction, and popular culture. His current exhibition at RoCo, “A Trace Left by the Future” explores the intersections of art history, power, and technology in the digital age in an imaginative and satirical critique that challenges viewers to examine their relationship with these forces.

@jonmonaghan @bleucease

Heart of Wax, 2025
dye-sublimation on aluminum, flocking, wood frame
23 in x 55 in
edition of 3, 1AP

Heart of Wax, 2025
dye-sublimation on aluminum, flocking, wood frame
23 in x 55 in
edition of 3, 1AP

Heart of Wax, 2025
dye-sublimation on aluminum, flocking, wood frame
23 in x 55 in
edition of 3, 1AP

I have work in an upcoming group exhibition: “Assemblages, bricolages, hybridations” at @cac_meymac
July 6 to October 5, 2025

with artists:
@ardouvin , @chiarabonato_ , #johncasey , #katsumatachieko , @ndarrot , #michelduport , @leofourdrinier , @claude_vi.tac , @mrdavehardy , @thibaulthazelzet , @lotharhempellotharhempel , @hippolyte_hentgen @hippolytehentgen , @studiosammoore , @jacquesjulien11 , @rachel_de_joode , @feekleiss , @tedlarsenworks , @faridalesuave , #andrewlewis , @bencemagyarlaki , helene.mougin , @studioamirnave , @leortajunior , @loicpantaly , @olivierpassieux , @i.perrault , @chloepoizat , #julienprevieux , @bernardquesniaux , @krjststudio , @laurent.tixador , @marnieweberstudio , #erikvanderweijde , @letha.wilson , @david.wolle

Curated by Caroline Bissière & Jean-Paul Blanchet

📍Abbaye Saint André - Centre d’art contemporain
Place du bûcher, 19250 Meymac, France

Image: Hippolyte Hentgen, Ficus, 2021, ©️Aurélien Mole

I have work in an upcoming group exhibition: “Assemblages, bricolages, hybridations” at @cac_meymac
July 6 to October 5, 2025

with artists:
@ardouvin , @chiarabonato_ , #johncasey , #katsumatachieko , @ndarrot , #michelduport , @leofourdrinier , @claude_vi.tac , @mrdavehardy , @thibaulthazelzet , @lotharhempellotharhempel , @hippolyte_hentgen @hippolytehentgen , @studiosammoore , @jacquesjulien11 , @rachel_de_joode , @feekleiss , @tedlarsenworks , @faridalesuave , #andrewlewis , @bencemagyarlaki , helene.mougin , @studioamirnave , @leortajunior , @loicpantaly , @olivierpassieux , @i.perrault , @chloepoizat , #julienprevieux , @bernardquesniaux , @krjststudio , @laurent.tixador , @marnieweberstudio , #erikvanderweijde , @letha.wilson , @david.wolle

Curated by Caroline Bissière & Jean-Paul Blanchet

📍Abbaye Saint André - Centre d’art contemporain
Place du bûcher, 19250 Meymac, France

Image: Hippolyte Hentgen, Ficus, 2021, ©️Aurélien Mole

I have work in an upcoming group exhibition: “Assemblages, bricolages, hybridations” at @cac_meymac
July 6 to October 5, 2025

with artists:
@ardouvin , @chiarabonato_ , #johncasey , #katsumatachieko , @ndarrot , #michelduport , @leofourdrinier , @claude_vi.tac , @mrdavehardy , @thibaulthazelzet , @lotharhempellotharhempel , @hippolyte_hentgen @hippolytehentgen , @studiosammoore , @jacquesjulien11 , @rachel_de_joode , @feekleiss , @tedlarsenworks , @faridalesuave , #andrewlewis , @bencemagyarlaki , helene.mougin , @studioamirnave , @leortajunior , @loicpantaly , @olivierpassieux , @i.perrault , @chloepoizat , #julienprevieux , @bernardquesniaux , @krjststudio , @laurent.tixador , @marnieweberstudio , #erikvanderweijde , @letha.wilson , @david.wolle

Curated by Caroline Bissière & Jean-Paul Blanchet

📍Abbaye Saint André - Centre d’art contemporain
Place du bûcher, 19250 Meymac, France

Image: Hippolyte Hentgen, Ficus, 2021, ©️Aurélien Mole

I have work in an upcoming group exhibition: “Assemblages, bricolages, hybridations” at @cac_meymac
July 6 to October 5, 2025

with artists:
@ardouvin , @chiarabonato_ , #johncasey , #katsumatachieko , @ndarrot , #michelduport , @leofourdrinier , @claude_vi.tac , @mrdavehardy , @thibaulthazelzet , @lotharhempellotharhempel , @hippolyte_hentgen @hippolytehentgen , @studiosammoore , @jacquesjulien11 , @rachel_de_joode , @feekleiss , @tedlarsenworks , @faridalesuave , #andrewlewis , @bencemagyarlaki , helene.mougin , @studioamirnave , @leortajunior , @loicpantaly , @olivierpassieux , @i.perrault , @chloepoizat , #julienprevieux , @bernardquesniaux , @krjststudio , @laurent.tixador , @marnieweberstudio , #erikvanderweijde , @letha.wilson , @david.wolle

Curated by Caroline Bissière & Jean-Paul Blanchet

📍Abbaye Saint André - Centre d’art contemporain
Place du bûcher, 19250 Meymac, France

Image: Hippolyte Hentgen, Ficus, 2021, ©️Aurélien Mole

I have work in an upcoming group exhibition: “Assemblages, bricolages, hybridations” at @cac_meymac
July 6 to October 5, 2025

with artists:
@ardouvin , @chiarabonato_ , #johncasey , #katsumatachieko , @ndarrot , #michelduport , @leofourdrinier , @claude_vi.tac , @mrdavehardy , @thibaulthazelzet , @lotharhempellotharhempel , @hippolyte_hentgen @hippolytehentgen , @studiosammoore , @jacquesjulien11 , @rachel_de_joode , @feekleiss , @tedlarsenworks , @faridalesuave , #andrewlewis , @bencemagyarlaki , helene.mougin , @studioamirnave , @leortajunior , @loicpantaly , @olivierpassieux , @i.perrault , @chloepoizat , #julienprevieux , @bernardquesniaux , @krjststudio , @laurent.tixador , @marnieweberstudio , #erikvanderweijde , @letha.wilson , @david.wolle

Curated by Caroline Bissière & Jean-Paul Blanchet

📍Abbaye Saint André - Centre d’art contemporain
Place du bûcher, 19250 Meymac, France

Image: Hippolyte Hentgen, Ficus, 2021, ©️Aurélien Mole

We can’t wait to share our newest, temporary public art installation with you all!

Join us on First Friday, June 6 for the opening of “Late Capital Pods” by Jonathan Monaghan.

“Late Capital Pods” is a series of large-scale images by Jonathan Monaghan that continue his recent work and reference Rochester’s Gilded Age architecture.

Image is a detail of the larger 9 foot by 6 foot installation.

Another one from this upcoming commission at @roco137 - June 6 - November 15, 2025

Late Capital Pods is a series of large-scale images installed outdoors in public space. In the series, Rochester’s Gilded Age architecture turns into opulent, spacecraft-like forms. Referencing Fabergé eggs, luxury design, and sci-fi aesthetics, these surreal structures are composed of local architectural fragments, bejeweled with elements of contemporary technological surveillance: smartwatches, cell towers, and security cameras.

By conflating the architecture of historical affluence with omnipresent consumer electronics, the series explores the shifting dynamics of wealth and power in the digital age.

This piece draws inspiration from the HH Warner Building (1884), designed by Louis P. Rogers, in Downtown Rochester. All buildings referenced in this series are listed on the National Register of Historic Places and were constructed during the Gilded Age in New York.

Another one from this upcoming commission at @roco137 - June 6 - November 15, 2025

Late Capital Pods is a series of large-scale images installed outdoors in public space. In the series, Rochester’s Gilded Age architecture turns into opulent, spacecraft-like forms. Referencing Fabergé eggs, luxury design, and sci-fi aesthetics, these surreal structures are composed of local architectural fragments, bejeweled with elements of contemporary technological surveillance: smartwatches, cell towers, and security cameras.

By conflating the architecture of historical affluence with omnipresent consumer electronics, the series explores the shifting dynamics of wealth and power in the digital age.

This piece draws inspiration from the HH Warner Building (1884), designed by Louis P. Rogers, in Downtown Rochester. All buildings referenced in this series are listed on the National Register of Historic Places and were constructed during the Gilded Age in New York.

Another one from this upcoming commission at @roco137 - June 6 - November 15, 2025

Late Capital Pods is a series of large-scale images installed outdoors in public space. In the series, Rochester’s Gilded Age architecture turns into opulent, spacecraft-like forms. Referencing Fabergé eggs, luxury design, and sci-fi aesthetics, these surreal structures are composed of local architectural fragments, bejeweled with elements of contemporary technological surveillance: smartwatches, cell towers, and security cameras.

By conflating the architecture of historical affluence with omnipresent consumer electronics, the series explores the shifting dynamics of wealth and power in the digital age.

This piece draws inspiration from the HH Warner Building (1884), designed by Louis P. Rogers, in Downtown Rochester. All buildings referenced in this series are listed on the National Register of Historic Places and were constructed during the Gilded Age in New York.