Shattering art market norms, Bradley’s tapestries in Once Twice will be for sale both as physical objects and simultaneously as unique files via SuperRare. Editioned as non-fungible tokens (NFTs), their ownership will be recorded through a blockchain ledger to provide proof of purchase and provenance. Bradley’s work will also be exhibited virtually in Decentraland, and both artists’ works will be available for purchase through the gallery in both USD and Ethereum.

The biomorphic figures in Bradley’s tapestries aren’t what they appear. Digitally conceived as grayscale works, they are physically woven with RGB colored thread, their vibrancy only visible in close-up. They bear the faces of real people, digitally distorted – registering the seamless, platform-bound fluctuation and masking of identity native to a world of FaceTune and biometric surveillance. Challenging the contemporary visibility fetish, Bradley’s tapestries withhold as much as they disclose, the relative qualities of their physical and digital existences rejecting the question of an “original” work altogether.

Based in the Kingdom of Crystal in Sweden, a region renowned for its hand-blown glass since 1742, Hansdotter forges fleshy, baroque sculptures, frozen in alien morphologies. Drawing on traditional processes she learned in formal training as a glassblower, Hansdotter’s work foregrounds craft and luxurious attention to detail – all in service of bombastic results, culminating in her strange and sensual objects. Five of her sculptures complement Bradley’s tapestries in Once Twice, opening a space for unexpected interplay between newfound collaborators.

Once Twice

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