3ᗫ ᙏαϏԐᕫᑶ

Plastics wash out to sea, following tidal currents and enmeshing into islands. Over the years, waves weather and erode them, leeching ever smaller particles into the ocean and its life. With 70% of the Earth’s surface covered in water, the impact of synthetic materials can be inconceivable and is easily unseen, yet it remains a reality which increasingly is being realized on land. Though Ines Alpha’s 3ᗫ Ɓєαυту ᑶ⍺𐌠ᥱ𝑡𝑡ᥱ (2022) does not directly comment on these issues, its aesthetic is evidently aware of the changes that are taking place. Through AR technologies and social media platforms such as Snapchat, Alpha allows audiences to enmesh themselves with a synthetic nature that can be read as a forecast of our environmental future.

3ᗫ Ɓєαυту ᑶ⍺𐌠ᥱ𝑡𝑡ᥱ is the 3D object adaptation of ines’s alpha snapchat face lens called αƖρнα Ɓєαυту Ɓσσтн. Ines’s dream has always been to develop her own digital makeup palette that anyone could use as easily as physical makeup, using their fingers. Thanks to developer Sava, she could finally achieve this dream of her, giving people a new tool to create their own digital beauty looks! 
There will for sure be more 3D makeup palettes soon ✨

This piece has been developed to be featured for the first time at a physical 3D NFT art exhibition in Sydney called *Satellite* planned for March - April 2022.


[αƖρнα Ɓєαυту Ɓσσтн snapchat lens](https://www.snapchat.com/unlock/?type=SNAPCODE&uuid=d7f096512d5e469ba02751231adf8b66&metadata=01)
[Sava twitter](https://twitter.com/SavaForNow)


3ᗫ Ɓєαυту ᑶ⍺𐌠ᥱ𝑡𝑡ᥱ

Geomancer 12

Damiana and Limestone [3D NFT version]

The Daydreaming terrace series, A

{Specimen no. 1, Homalodisca griseoargenteata}

mother/child v1-dv1 #1/3

Dance I

Spewed up along volcanic shorelines, new compositions were first identified on Kamilo Beach by the geologist Patricia Corcoran and sculptor Kelly Jazcav. Coined plastiglomerates, these fusions were initially understood as combinations of sand and plastic sediments agglutinated by magma flows. Later, they were attributed to human hands, byproducts of campfires dotted down the garbage-strewn coastline.


Quickly, a symbolic potency amalgamated around the plastiglomerate. They were described as a potential marker of the debated Anthropocene and via Jazcav made their way into museums, including the Het Nieuwe Instituut, the Natura Artis Magistra, and the Yale Peabody Museum. As readymades they attested to a new hybridity between the planet and the human, a fusion of geological processes framed by artistic tradition. Aesthetically they fascinate, bejeweled with phosphorescent artificial colors, tinged with the pathos of being a new stratigraphic signature.


As ecological anxiety climbs, a new digital art sub-genre emerges to reflect shifting sentiments. Born from the oceanic tail-ends of vaporwave and post-internet fluidity, the “plastiglomerate class” parallels its geological forebear by washing up and awaiting discovery. As a loose classification, it is typified by the intersection of softwares, blurring together 3D scanned organic matter with wholly computational materials. A mirror to tectonic processes it undulates, ripples or pulses, implying a subtle living energy.


Often resulting in .obj files, the “plastiglomerate class” seeks a reincorporation with the natural world. Birthed via an iPhone screen, as augmented realities they merge back into basalt and are subsumed by algae, completing their bit-based life cycle.

Plastiglomerate Class

Sedimentary pixels mixed with plastic matrices.

3ᗫ Ɓєαυту ᑶ⍺𐌠ᥱ𝑡𝑡ᥱ

Auction

3ᗫ ᙏαϏԐᕫᑶ

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