Digital Art & NFT
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Collecting a Fragment of the Future
These organisms do not yet exist. They may never exist — or perhaps they will, in a hundred thousand years, when the matter we leave behind becomes their soil. But they already exist somewhere: in information, in image, in the consciousness of those who look at them.
Physicist Philippe Guillemant, research engineer at the CNRS and author of La Physique de la Conscience, develops a theory of dual causality in which the future is not written but exists as potentials, and consciousness acts as an interface for navigating between those potentials. In other words, what we perceive, name, and inhabit through thought begins to exist. We would live in an immeasurable field of information, and our collective reality would be only an infinitesimal fragment of that field, from which each consciousness draws a portion coherent with the whole.
To collect a neo-organism is more than acquiring an image. It is giving it an address in the collective consciousness. To certify it on the Tezos blockchain is to inscribe it in an immutable register, to give it an existence that neither time nor neglect can erase.
What if the accumulation of these gazes, these consciousnesses that recognise the creature, is precisely what prepares its incarnation in matter?
Sculpture followed drawing. Drawing followed idea. Idea followed the observation of the living. The loop may be shorter than we think.
Why Digital Art?
Everything began with sculpture. Before the pixel, before the algorithm, there was the studio, hands in matter, and a question: what will life look like in several hundred million years, when our waste, our carbon, our plastics have become the soil of a biodiversity we can only imagine?
The neo-organisms were born from a clear artistic vision — hybrid-form sculptures, built from the discards of the Anthropocene, attempting to give body to this idea of a distant, positive and resilient future for life on Earth.
But sculpture alone could not cover the distance. Between today and that future eight hundred million years away, there is a continuum of evolution. Thousands of intermediate species, transitional forms, organisms whose existence is plausible but impossible to sculpt one by one. That is where generative algorithms entered — not as a replacement for the sculptural gesture, but as an extension of the immersive approach of a larger project: to produce a possible living world that visitors can explore, between now and that distant future, navigating morphologies that prospective biology can formulate but that hands cannot all embody.
This shift has a date and a name. The encounter with Bérenger Recoules, head of the digital studio at the École de Design de Nantes, opened access to open-source generative tools — ComfyUI above all — within a working framework where local mastery of tools, without subscriptions or dependency on proprietary services, is an ethical position as much as a practical one. It was in that studio that the organisms began to move, to animate, to breathe.
One question remained: how to connect these digital creatures to the matter from which they came? How to prevent the digital work from remaining suspended on screen, cut off from the body, from space, from the real?
It was the admiration for the work of Pierrick Sorin — an artist whose works inhabit vessel-objects, devices that give images a physical presence — that opened the way. Holographic sculpture became that link: a digital organism projected into the heart of a sculpture made from recovered matter, the two inseparable, each giving meaning to the other. The NFT certifies the digital work on the blockchain. The sculpture is its vessel in the real world. Together, they form a single piece.
Which Tools?
The generation of prospective organisms follows a four-stage protocol:
- Text-to-image first: creation of the primitive organisms of an era. A precise textual description generates the founding forms, the ancestors of each Era.
- Image-to-image next: evolution of these organisms and creation of branchings. The primitive form is pushed, derived, ramified until it produces the species born from each evolutionary bifurcation. This is the longest stage — the one where the sculptor’s eye reasserts itself over the machine.
- Image-to-video: the organisms animate. A tremor, the minimal movement that says something is alive.
- DaVinci Resolve finally: video editing, motion and sound creation. This is where the organism receives its soul. The recorded and transformed voice that simulates its breath, its presence, its own rhythm.
Everything is produced on ComfyUI, an open-source tool mastered locally with Bérenger Recoules at the École de Design de Nantes, without subscriptions or rights ceded to proprietary services. The editing of animated sequences and sound processing — a recorded and transformed voice simulating the breath of each creature — is done on DaVinci Resolve.
These organisms are not produced in isolation. They are part of an evolutionary tree — a map of all evolutionary branches between today and the most distant eras of the series. Each organism occupies a position within it: an era, a lineage, ancestors, possible descendants. A prospective taxonomy that grows as the series expands.
Each work is then certified on the Tezos blockchain via Objkt.com. Tezos consumes 2.5 grams of CO₂ per transaction — less than a paper cheque, against 700 kg for Bitcoin. A choice consistent with a practice that makes the waste of the Anthropocene its raw material. Automatic perpetual royalties inscribed in the contract guarantee payment on every future resale, without gallery, without intermediary, without negotiation.
Digital production opens the door to infinite series. An algorithm can generate a thousand organisms per day. That is precisely the path that is closed here. Each work is produced individually, validated, refined, then locked in limited edition — like rare fossils discovered by chance. You do not decide how many you find. Scarcity here is not a constraint of the medium. It is a deliberate refusal of easy abundance, in a digital world that no longer has any reason to limit itself — except by choosing to.
This is not a technical feat. It is the right gesture in service of the work.
Blockchain — a Scarcity That Makes Sense
The NFT is often misunderstood. Reduced to speculation, associated with bubbles and excess. This view misses the point: the blockchain is first and foremost a tool of certification and sovereignty for the artist.
But it is also something else. The blockchain is a shared, distributed recognition — thousands of independent nodes, spread across the world, simultaneously validating each transaction, each creation, each transfer. No central server. No single authority. A collaborative trust, a globalised and transparent testimony, where each certified work exists in a register that no one controls and everyone can verify. It is a form of collective memory of the digital real — more robust than a catalogue, more durable than an institutional archive.
On Tezos, each work is a contract. The contract specifies the author, the edition, the royalties. It cannot be modified, falsified, or erased. For the first time in the history of art, an artist can sell a digital work in limited edition and automatically receive a percentage on every future resale — without gallery, without intermediary, without negotiation. Scarcity is inscribed in the code, not declared in a catalogue.
To voluntarily limit the number of editions in a medium that has no physical constraint on reproduction is a deliberate act. What you collect exists in a defined number of copies in the digital universe. Not by technical constraint, but by choice. That is what gives these organisms their value — not their price, but their singularity in a world that reproduces endlessly.