Frédéric Pons
Pantin // France

Frédéric Pons, Vabex, 2021. Time-based NFT, 2160 × 2700 pixels. Duration: 00:10. 1/1.

Frédéric Pons, Vabex, 2021. Time-based NFT, 2160 × 2700 pixels. Duration: 00:10. 1/1.


Frédéric Pons, Chaldni's Watery Spell, 2022. Time-based NFT, 2160 × 2700 pixels. Duration: 00:40. 1/1.

Frédéric Pons, Chaldni’s Watery Spell, 2022. Time-based NFT, 2160 × 2700 pixels. Duration: 00:40. 1/1.


Frédéric Pons, Eye Turner, 2022. Time-based NFT, 2160 × 2700 pixels. Duration: 00:05. 1/1.

Frédéric Pons, Eye Turner, 2022. Time-based NFT, 2160 × 2700 pixels. Duration: 00:05. 1/1.

How to make a tower of noise ? How to put Chaldni’s equations around a sphere? How to mix gold crystal and fire? Sometimes those kind of weird questions come before the picture, sometimes they are the source. But I make sense of my work using these questions as a subterfuge. The reason I relate so much to the techspressionist movement is because technology is a huge part of both my imagination and my artistic process.

I would describe myself as a future-focused 3D artist. The future is the land of potential, the land of imagination, the land of hope. That’s why my eyes are drawn towards it and away from the gloomy promises of the present. That’s also why themes like science fiction, biology and technology are central inspirations in my artistic work. As a techspressionist, I enjoy discovering and using all of the crazy image processing techniques the  our era has to offer.

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