PostVanitas (5 Works)


PostVanitas, Selections from Autonomous Prism Collection (2010-2021) are a series of posthumanistic revisitings of vanitas style of painting in light of the current (theoretical) curing of the condition of death – deathlessness – where Ray Kurzweil estimates that the capacity for human beings to live at least 500 years exists now and the human life span will continue to increase exponentially to infinity over the next years/decades through scientific advances and medical breakthroughs. Death as we know it is dying. 

Vanitas was/is a style of still life painting that featured objects that symbolically and literally represented time, a meditation on the temporality of beauty and life: clocks, flowers, skulls.

In light of this Kurzweil-ian prognosis for the species, in effect the creation of a new species or subspecies of Homo Sapien, these new vanitas images look at consciousness as a phenomenon, already vaguely understood by science, within new dimensions that take on frames that are biological, neurological, almost geological or cosmological, certainly epistemological and of course technological and invite the viewer to think about the implications of such a shift towards eternity for humankind. 

Far from a simple celebration of “deathlessness”, these images, in keeping with the life/death-consideration aim of vanitas painting point simultaneously to the underside of science’s ability to keep humans alive indefinitely. The PostVanitas images offer the viewer the philosophical conundrum centered in many of the writings of Paul Virilio, namely that any new technological advance is also the creation of new types of errors, where perhaps the most apparent error here is the theoretically instant genocide of humans who do not have access to these scientific/medical treatments, the various so-called cures for death – cyborgenics, cryogenics, Neuralink, prosthesis, gene editing and manipulation/CRISPR, vital organ transplantation – and are thusly destined through familiar and pre-existing global inequalities to live within normative (present-day) life expectancies.

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Collection of 5 Artworks. Sold as ERC-20. Mintable. Edition of 5



Originally trained as a painter, American artist Jakob LeBaron Dwight was drawn to digital software as an opportunity to explore the transformative impact of digital media on painting and the painterly perspective. Inspired by the opiated, meditative quality of the screen-based televisual space, Dwight saw the illuminated image as significant to contemporary sensory culture. With his abstracted images the artist seeks the transformative potential of light and space by employing multiple media including painting, digital photography and collage, drawing and generative, algorithmic processes.

​Jakob LeBaron Dwight’s work has been exhibited internationally, including in Amsterdam, Los Angeles, Berlin, Atlanta, Vienna, and New York. He was commissioned by the Seattle Art Museum to create new work for the Disguise: Masks and Global African Art exhibition at UCLA’s Fowler Museum, which travelled to the Brooklyn Museum, New York in April 2016.

In 2014 as part of the collective Aestherics and Therapeutics Lab formed to explore new ways of providing healing experiences through art, Dwight, himself an adult survivor of a noncancerous childhood brain tumor, installed a MultiSensory Environment (MSE) in fulldome at Vortex Immersion Media at LA Center Studios.