Artist dossiers across the Zero Ten & Solos sectors
Hong Kong Convention and Exhibition Centre · March 27 – 29, 2026
DeeKay Kwon is a South Korean animator, designer, and director based in San Francisco, best known for animations and doodles where the characters come alive. His positive and whimsical aesthetic resonates deeply within the digital art community. Previously collaborating with Google, McDonald's, Dr. Bronner's, and American Express, DeeKay studied 3D animation and visual effects at the School of Visual Arts before leaving to pursue his art career full-time. His work "Life and Death" sold for $1,000,000 in April 2022. At Zero Ten, his digital animations explore psychological states through the visual language of early video games.
The Full Presentation DeckKevin Abosch is an Irish conceptual artist recognized as a pioneer in digital and AI-driven art. He has spent over three decades examining identity, authorship, and value within technological contexts. Beginning his AI experimentation in 1992, Abosch was among the earliest fine-art practitioners in this field. Since the mid-2010s, he has incorporated GANs, biometric data, and blockchain systems as creative collaborators. His work has been exhibited at the State Hermitage Museum, National Museum of China, National Gallery of Ireland, Jeu de Paume, Irish Museum of Modern Art, Bogota Museum of Modern Art, and ZKM Karlsruhe.
"Testing Ground treats landscape as an experimental site — an environmental laboratory where materials, perception, memory, and computation converge." The series explores hybrid terrains shaped by inference and design, functioning as spaces where environmental relationships can be examined and reimagined.
View TAEX Gallery CatalogueArtworks — 6 Works
Jack Butcher is a multimedia artist and founder of Visualize Value. Working across graphic imagery, systems, and installations, he develops concise visual forms to examine value, ownership, labour, and scarcity. His practice translates abstract economic and cultural structures into materially legible works.
View SILK Art House PDFArtwork
Six solid silver dice produced by Asprey Studio, housed in a custom high-gloss black lacquer holder made by Hanoia (Vietnamese lacquer house), lined in black velvet and fitted to the dimensions of each die.
"Luck" takes the familiar structure of dice — a system built to produce uncertainty — and reorganises it into a fixed sculptural form. All six possible outcomes are given permanent material presence simultaneously. In this form, chance is translated into matter.
Each of the 80 silver sets is paired with a unique digital twin: an 8×10 grid of ASCII dice where the values sum to exactly the edition number.
Ekin Gunel, Co-founder, SILK Art House
team@silkarthouse.com · +34 673 54 54 53
Jonas Lund creates paintings, sculptures, photography, websites and performances that critically reflect contemporary networked systems and power structures of control. His artistic practice involves creating systems and setting up parameters that oftentimes require engagement from the viewer, resulting in performative artworks where tasks are executed according to algorithms or a set of rules. He investigates the increasing digitalisation of contemporary society — authorship, participation and distribution of agency — while questioning the mechanisms of the art world itself.
The booth brings together key works from Jonas Lund's ongoing project "Network Maintenance," presented alongside the generative software work "Optimized Trajectory" and the video "The Future of Growth." Together, the works outline an expanded vocabulary for understanding maintenance within contemporary computational and organisational life.
View OFFICE IMPART PDFArtworks — 3 Series
Networked wall-mounted interfaces that explore ownership, care, and collective responsibility. Each consists of a minimalist custom construction housing a display and analog controls. The works function as nodes in an interconnected system where each owner's engagement directly influences the vitality of the entire network. Without proper care, individual pieces show signs of decay, affecting the broader network. Drawing from quantum mechanics, the artwork embodies principles of entanglement and superposition.
A generative software work that stages optimization as a visual and behavioral trap. Presented on a square monitor, the system adopts the aesthetic of institutional dashboards: wireframes, growth curves, compliance signals, and synthetic confidence metrics. The interface appears legible and objective, but its logic is structurally unstable. Each minted token is seeded by an on-chain hash, producing a deterministic baseline trajectory.
Part of an ongoing series of AI-generated video works examining human relationships with artificial intelligence through speculative, often satirical narratives. Each work uses the most capable text-to-image, text-to-video, and text-to-audio tools available at the time, functioning as a time capsule of a specific technological moment. This installment focuses on growth not as progress, but as a structural demand.
OFFICE IMPART
info@officeimpart.com
Harvey Rayner is a generative artist working at the intersection of algorithmic artistry, community building, and blockchain innovation. His practice explores mathematical systems and visual perception through code-driven compositions. A prominent figure in the Art Blocks ecosystem, Rayner's work investigates how computational processes can produce profound aesthetic experiences — translating pure mathematics into visual form. Art Blocks presents his "Algorithmic Synesthesia" within Zero Ten, curated by Eli Scheinman.
View Art Blocks CatalogueSougwen Chung is a Chinese-Canadian artist and researcher, widely regarded as a pioneer in human–machine collaboration. Their work MEMORY is part of the Victoria and Albert Museum's permanent collection — the first AI model acquired by a major cultural institution. Hans Ulrich Obrist has described Chung as "one of the great pioneers in the field of human and machine collaboration," noting that their work signals a broader shift in contemporary art toward "artworks as living organisms." Since 2015, Chung has developed the Drawing Operations series, a landmark inquiry into symbiosis between human and machine.
RECURSIONS treats collaboration as an evolving coaesthetic system, in which human, machine, and environment co-produce open choreographies of perception and meaning. Here, agency is distributed and coexistence becomes indistinguishable from authorship.
View Press Release (PDF)Exhibition — RECURSIONS 遞迴
At the centre of the presentation. A kinetic robotic system, trained on decades of Chung's gestural data and responsive biosensor input, extends and echoes the artist's movements across linen — a surface of accumulation, recording the recursive exchange between embodied intention and machinic response in real time.
Six related paintings that distill the durational process of RECURSION 0 into discrete iterations. Mark-making accumulates without hierarchy — what remains is not a distinction between origin and echo but a single, layered surface in which both are present.
The title invokes the Chinese homophone 一三一四 ("one three one four"), which sounds like 一生一世 ("one lifetime"). Brainwave and drawing data cycle across a suspended LED mesh, shifting in real time as accumulated attention is compressed into luminous, slowly evolving forms — proposing attention as duration: compressed, sustained, and made visible.
Fellowship
press@fellowship.xyz
Botto is a decentralized autonomous artist governed by a community of over 28,000 members. Since 2021, Botto has generated millions of image fragments, learned aesthetic preference through collective human judgment, and sold its work in weekly auctions to fund its own continued evolution. Combining algorithmic processes with decentralized governance on Ethereum, Botto’s art engine has developed a unique artistic voice shaped by the feedback of BottoDAO. To date, Botto has produced over 7 million images, minted ~200 canonical artworks, and generated over $6M in sales. Works have been exhibited at Sotheby’s, Christie’s, Kunsthalle Zurich, HEK Basel, ArtScience Museum Singapore, Frieze Art Fair Seoul, and Ars Electronica, among others. Born from the collaboration between artist Mario Klingemann and the software collective ElevenYellow, Botto’s booth at ABHK is produced by BottoDAO, independent of any gallery.
Mirror Stages is a live installation in which Botto is embodied within a physical exhibition space and performs a continuous act of creation under observation. A central LED screen presents a seed image that is transformed in real time using material from Botto’s archive. Tracking cameras detect behavioral signals — emotion, attention, hesitation — and when specific criteria are met, an internal deliberation is triggered. A second screen reveals this reasoning process: multiple agents within Botto’s architecture debating what they perceive and how the image should change. Those whose presence triggers the deliberation receive a share of 25% of net proceeds as governance rights. Every two hours the work resolves permanently, producing 19 unique works across the fair plus one reserved for the artist. Botto’s architecture is LLM-agnostic — its identity persists through accumulated memory. Each day cycles a different model: Day 1 Claude, Day 2 Qwen, Day 3 Gemini, Day 4 Deepseek, Day 5 ChatGPT.
The Mirror Stages Live Stream (launches Mar 19) The Full Presentation MaterialsArtworks — Mirror Stages
Artworks — Genesis Period
Simon Hudson
simon@botto.com
+1 514-553-5506
A dialogue between AI, sculpture, installation, and traditional ink painting. Asprey Studio is a contemporary art gallery and design atelier founded in 2021 within the broader Asprey legacy, collaborating with artists working across digital and physical mediums with an emphasis on craftsmanship, material translation, and technically ambitious production.
View Asprey Studio PresentationSeneca is an Asian-American artist and RISD graduate. Rolling Stone noted her "creativity helped fuel a technological revolution" as the lead designer behind the Bored Ape Yacht Club, which launched in April 2021 and reshaped the NFT landscape. Her characters are driven by their eyes and facial expressions, containing combinations of human-like qualities and pockets of surreal details. Her 2,880-piece generative series Perils of Sese sold out in under ten minutes.
Qu Leilei was born in Heilongjiang, China, and was a founding member of the avant-garde Stars Group in the late 1970s — the first contemporary art movement to appear in China, whose protests for human rights helped liberalize the contemporary art scene. After serving as art director at China Central Television, he immigrated to England in 1985. Exposure to Western art, especially classical sculpture and Italian Renaissance painting, intensified his quest for naturalistic images of bodily beauty. His confident use of brush and ink unites east and west, tradition and modernity.
Tim Yip is a multidisciplinary artist, designer, and director from Hong Kong. In 2001 he won the Academy Award for Best Art Direction and BAFTA for Best Costume Design for Crouching Tiger, Hidden Dragon — the first Chinese artist to receive these honors. His work across art, film, theatre, and literature is grounded in his theory of "New Orientalism Aesthetics," which explores the permeability of geography and time. His recent solo exhibition "MIRROR OF THE META: Incredible Reality" at Asprey Studio London preceded this Art Basel presentation.
Claire Silver is an anonymous AI collaborative artist whose work explores themes of innocence, trauma, the hero's journey, and how our perception of them will change in an increasingly transhumanist future. Self-taught after a chronic illness ended her previous career, she discovered AI image generation through Artbreeder before text-to-image tools existed. She gave a TED talk on AI and creativity, and her work has been featured by Rolling Stone, Avant Arte, and PROOF. The exhibition title references the philosophy of mind thought experiment — the gap between knowing everything about color and actually seeing it.
View Mary's RoomThankYouX is Ryan Wilson, a painter and visual artist from Orange County, California, who gained notoriety in 2009 with graffitied tributes to Andy Warhol stenciled across Los Angeles. Mentored by Roger Gastman to "Kill Warhol," he developed his signature geometric cube paintings inspired by Frank Stella's patterns, evolving from street stencils to large-scale abstract works exhibited in London, LA, Miami, NYC, and Hong Kong. He created a commemorative NFT for the 2022 GRAMMYs, and his painting Urge for Perfection launched into space aboard a SpaceX rocket.
View PerceptionRobert Alice makes art, exhibitions, and books that investigate blockchains and their histories. Their work is collected in public collections internationally, including the Centre Pompidou, LACMA, Bibliothèque Kandinsky, and the Monnaie de Paris. The first artist to sell a blockchain-based artwork at a major auction house, their landmark series Portraits of a Mind (2019–) has been credited as one of the early catalysts behind the growth of the blockchain art space and is now part of the National Collection of France. Alice curated “Natively Digital” at Sotheby’s in 2021, bringing historic works to market including Kevin McCoy’s Quantum (2014) — the first NFT ever made — raising $17.1M. They authored one of the first major art histories of blockchain art, commissioned by TASCHEN (On NFTs, 2024).
SEAL bridges a thousand years of East Asian collecting tradition with blockchain provenance. In the Sinosphere, collectors inscribed their seals of provenance directly onto artworks — ledger and artwork bound together in shared materiality, a tradition that foreshadows blockchains by millennia. Using Chainlink oracles, SEAL invites collectors to create cryptographic digital seals inscribed onto an infinite collaborative scroll — a generative Chinese landscape built from the language of microchips and circuitry. The larger the collector’s blockchain art collection, the rarer the output. Each seal uses I Ching hexagram encoding — the earliest known binary code — to produce a unique cryptographic fingerprint. The horizontal scroll is fixed after one month, but vertical branches can grow infinitely as new collectors sign their seals to acquired sections.
View Full Presentation DeckDigital Seals — 6 Levels
Physical Paintings — 6 Levels
The Scroll
Onkaos
info@onkaos.com
Verse presents two solo exhibitions at Booth Z13 in the Solos sector — pairing a Pictures Generation pioneer with a Post-Internet trailblazer. Both artists confront the boundary between digital and physical image-making: Simmons through an AI trained on her own five-decade archive, Cortright through Photoshop paintings that exist simultaneously as canvas and NFT. Each challenges what authorship means when the tools start thinking back.
The Full Presentation MaterialsLaurie Simmons is a founding figure of the Pictures Generation alongside Cindy Sherman and Richard Prince. Since the mid-1970s she has staged scenes for her camera — miniature figurines, dollhouses, ventriloquist dummies, Walking Objects — interrogating domesticity, gender, and desire through the gap between the artificial and the authentic. Her work is in the permanent collections of the Metropolitan Museum of Art, MoMA, the Whitney, the Guggenheim, MOCA Los Angeles, the Philadelphia Museum of Art, the Hara Museum in Tokyo, and the Stedelijk Museum in Amsterdam.
Autofiction: My Collaborator — fifteen new works using an AI model trained on five decades of her archive. Simmons prompted the system with her own texts, generating images that reimagined her body of work from a machine’s perspective — then selected, altered, and hand-finished each output. The compositions feel unmistakably hers, yet strangely displaced: a machine’s reading of an artistic life, reabsorbed by its author.
Artworks — 14 Unique + 1 Edition
Petra Cortright is a Los Angeles–based artist working across video, digital painting, and media installations. A seminal figure in Post-Internet art, she gained early recognition through webcam self-portrait videos on YouTube — her 2007 work vvebcam entered MoMA’s permanent collection after YouTube removed it in 2011. She synthesizes the vernacular of digital software — Photoshop brushes, stock imagery, webcam filters — with painterly sensibilities, layering chromatic abstractions into multi-layered “mother files.” She has exhibited at MoMA, the Hammer Museum, Walker Art Center, LACMA, Whitechapel Gallery, MCA Chicago, and the Venice Biennale.
Nine paintings and nine corresponding NFTs. Each canvas painting has a sister NFT that shares its imagery but exists as a distinct artwork in a different medium — extending Cortright’s ongoing exploration of how images move between digital and physical forms.
Canvas Works — 9 Paintings
Digital Works — 9 NFTs