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Mixed media pieces by Victoria Dugger feel raw and intentional at the same time. Glitter, fringe, and texture turn symbols like the flag into something personal, messy, and very human.

Feels like AI is pushing art in two directions at once. One toward infinite speed and volume, the other toward pieces that feel more human, slower, more intentional.

Gabe Benzur’s landscapes feel familiar but strange, like places you almost remember.

Malene Hartmann Rasmussen ceramics

Some seasonal art from Jeremy Mirand. Great mix of mood and detail for the holidays.

Everything is liquid now

Adrienna Matzeg’s embroidered food scenes are wild. Hyper-detailed, a little chaotic, and somehow still comforting. Attaching a few favorites.

Got a job with Santa 😎 My Quilibrium Hexmas ID is ready! Nickname: abstract Dept: Workshop Automation ID: 005ce3c32b1da5ec825cc6d8e37e53dcbb46cb221abfd63d802ec9beb14a29e13861e8ec92b72e1c529c633dae1effbfd70ff03174275b1a00 Get yours at https://farcaster.xyz/miniapps/tFX1m7IyozRk/hexmas

I just got my beeper! @beeper is coming soon on base

@tryemerge cooked this up for me, Labubu Keychain x @atown flavor. looks too good

These pieces by Mariko Mori look like relics from a future that already remembers us.

creepy 🙈

Yen Yen Chou mixes watercolor and epoxy reliefs to explore change, droplets, and transformation in everyday moments.

There’s something magical about mini architecture under glass. Davydov’s mini world series feels like folklore you can hold.

French sculptor Stéphanie Kilgast uses milk cartons, books, plastic bottles to build strange, lush micro-universes.

Thomas Doyle’s Clear History series imagines classical monuments as dystopian relics, tiny enamel sculptures that warn more than they glorify.

Gabrielle Garland paints houses like characters

Raqib Shaw’s Paradise Lost is a 100-foot-long painted epic - part autobiography, part mythology, all hand-enamel on panel.