drifts;
Cezar Mocan, Yoshi Sodeoka, Yehwan Song

Reality today emerges less as a stable foundation than as a shifting mix of infrastructures, codes, sensations, and temporalities that constantly reconfigure how the world is seen and understood. What we encounter as the real is produced through the constant process of multiple systems, technological, symbolic, and perceptual, that intersect and interfere with one another.
Technical networks, data flows, media platforms, and algorithmic grids coexist alongside biological streams, social relations, and felt experiences, all together forming a dense and complicated field of overlapping layers. (…)

Read the whole text by Stina Gustafsson here

In 'A Field Guide to Orbital Melancholy', artist Cezar Mocan explores what happens when systems designed to see everything still fail to understand what they observe. Taking the perspective of a distributed satellite trying to account for the disappearance of a toxic lake, the work exposes how automated vision produces overlapping and often conflicting versions of reality.

View video of the installation HERE

Yoshi Sodeoka
21.000 II, 2026
interactive NFT, Wall installation
6.000 $

https://verse.works/series/21–000-ii-by-yoshi-sodeoka


'21.000 II' by artist Yoshi Sodeoka brings the layered processes of digital production into the physical space, combining a decade of photos of the sun with mathematical structures and hand-drawn marks. Projected imagery, sketches, and calculations coexist across multiple surfaces, creating a field where precision and improvisation overlap. Sodeoka’s installation shows normally hidden digital layers, allowing for natural cycles, technical systems, and personal gestures to share a single, open space.

View video of the installation HERE

In her smaller works, Yehwan Song addresses how the user is shaped by the internet through constant data production, endless scrolling, and forms of unpaid digital labor. In her moving sculptures, 'Please Don’t', 'Witnessing' and 'All I need is' , designed to self-generate and automate human interaction online, she critiques systems in which human energy is absorbed by automated digital processes rather than benefiting the user.


View videos of the sculptures HERE: 
Please Don’t',  'Witnessing' and 'All I need is'

Artists CV´s

Cezar Mocan is a Lisbon-based artist and computer programmer interested in the interplay between technology and the natural landscape. Using narrative generative systems—animated videos of infinite duration, real-time simulations built in game engines or other software—he creates worlds that recontextualize aspects of digital culture we take for granted, often in absurd ways, while investigating the power structures that mediate our relationship with technology. Drawing on media archaeology and art history, his research traces the origins of contemporary thought patterns around (technological) progress.

His work has been exhibited with Inter/Access (Toronto), OFFICE IMPART (Berlin), Panke Gallery (Berlin), SPRING BREAK Art Show (New York), Currents New Media (Center for Contemporary Art Santa Fe), The Wrong Biennale, BASE (Istanbul), Romanian Design Week (Bucharest), Infinite Objects, and New York University. His real-time simulation work Arcadia Inc. was recognized as a 2021 winner of the Lumen Prize in Art and Technology. He holds a B.S. in Computer Science (2016) from Yale University and an M.P.S. in Interactive Telecommunications (2021) from New York University, where he also served as a research resident and adjunct professor.


Yoshi Sodeoka is a renowned artist known for his innovative exploration of various media and platforms, including video, GIFs, and print. With a deep-rooted passion for music, his neo-psychedelic style directly reflects his love and background in the field. Drawing inspiration from music cultures such as noise, punk, metal, and prog-rock, Sodeoka has developed a unique artistic vision encompassing complex, mind-altering visuals.
His artistic practice involves a captivating blend of digital video feedback, footage sampling, online imagery, and collaborative audio soundscapes, resulting in immersive sensory experiences. Sodeoka's creative journey has traversed multiple artistic domains, including fine art, music collaborations with notable acts such as Metallica, Psychic TV, Tame Impala, Oneohtrix Point Never, Beck, The Presets, and Max Cooper, editorial illustration for renowned publications like The New York Times, Wired, The Atlantic, and M.I.T. Technology Review, as well as partnerships with fashion brands such as Adidas and Nike, and advertising projects for industry giants like Apple and Samsung.
Sodeoka's works have achieved global recognition and have been exhibited in prestigious venues worldwide, including the Centre Pompidou, Tate Britain, the Cleveland Museum of Art, Deitch Projects, La Gaîté Lyrique, the Museum of the Moving Image, the Baltimore Museum of Art, and Laforet Museum Harajuku. His artistic contributions have earned him a place in the permanent collections of esteemed institutions such as the Whitney Museum of American Art, the Museum of the Moving Image, and the San Francisco Museum of Modern Art.
Originally hailing from Yokohama, Japan, Yoshi Sodeoka relocated to New York in the 1990’s to pursue his passion for art, enrolling at Pratt Institute. Since then, he has called New York home, establishing a strong presence in the city's vibrant art scene. 

Yehwan Song is a Korean-born, New York–based web artist working with non-user-centric and independently structured internet spaces. Yehwan’s practice examines how the role of the “user” has been historically redefined as the internet has shifted from a tool into an environment. While often presented as neutral and natural, this environment is unevenly designed, producing forms of discomfort that disproportionately affect marginalized users—discomforts frequently concealed beneath narratives of technological ease and utopian interface design.

Through non-generic web interfaces and performance-based interaction, Yehwan critiques the assumptions embedded in standard UX, user-friendliness, and the political foundations of the templated web. These projects trace the user’s shift from figure of knowledge to a consumer, and ultimately to a provider of data that sustains larger systems, highlighting how design frameworks often erase cultural, political, and linguistic complexity in the name of universality.


Working across websites, installations, and sculptures, Yehwan creates works that visualize digital systems and their limits. Positioned between the digital and the physical, these works deliberately introduce friction, delay, or confusion—not as obstacles to be resolved, but as strategies for making visible what seamless design is structured to hide.