Treeskulltown

France

Treeskulltown is the conceptual avatar of a French multidisciplinary artist. For the last 4 years, he has been working in the field of digital art. Having grown up in the 80s, the emergence and development of computer technologies and techniques resonated with him and fuelled his curiosity. With 20 years of experimentation and hybridisation between physical and digital art under his belt, his work today is as much a personal quest as an artistic one. When he became a father, a need for simplicity and freedom, combined with the constraints of mobility, led him to return to the source of the desire to create and the pleasure of doing so, using organic materials (earth, paper, paint, cardboard, wood, etc.). It's a way of rediscovering meaning by naturally reconnecting with feelings and emotions. His aim is to develop a temporal parallel, a conversation, with the masters of classical art, to create a sub-reality to art history using mixed media animation techniques, thus creating an analogue palimpsest in digital strata.

Very involved in the crypto-artist community, his works are collected in Ethereum on FOUNDATION, in Tezos on OBJKT and in Bitcoin on GAMMA. Since 2022, his work has been exhibited and presented internationally at major events such as Art Crush Gallery, MOWNA, NFT NYC, NFT Japan, DAM Zine, NFC Lisbon, NFT Factory Paris, R HAUS Art Basel Miami, QUANTA Gallery London, IHAM NFT Gallery Paris. He was also selected in 2024 in The Hug 100 artists to watch and in the N3W Society Bookzine with the web3 agency: BRAWHAUS. His continual quest to reinvent himself and experiment provokes an emotional interaction with the viewer while guiding them with a subtle and conceptualised narrative.


Treeskulltown_Collage.png

A Moment of Utopian Life: Xanthopsia 213

A_Moment_of_Utopian_Life_Xanthopsia_213_Treeskulltown_Collage.mp4

This project is a semantic reactivation of van Gogh’s Three Pairs of Shoes. It engages a dialogue across time, shifting attention from the finished art object to the process itself. The original work becomes a pretext for exploring an allegory of utopian friendship.

1. Artistic and Technical Dimension: The Hybrid Palimpsest

- Layer 1: The Past (The Anchor). Van Gogh’s work, carrying themes of labor and lived experience.
- Layer 2: The Material Present (The Gesture). By repainting in acrylic, I impose a first reinterpretation. The gestural abstract expressionist style transforms the object (shoes) into a subject (relationship).
- Layer 3: The Immaterial Present (The Breath). Minimal digital animation introduces time and cyclicality. Micro-variations evoke a shared breathing.

2. Philosophical Dimension: Relational Utopia

- From Object to Relationship: The shoes, symbols of solitary labor, are reinterpreted as the embodiment of entities in harmonious coexistence.
- The Conversational Device: The work acts as a trigger, initiating a triple dialogue — with the viewer, with oneself, and with History.
- “Xanthopsia” as a Deliberate Gesture: The title of the collection (yellow vision) reframes a pathological perception as a philosophical choice — the decision to overlay a filter of warmth onto a darker reality.

3. Cultural Dimension: Rooted in “Digital Culture”

- Reinterpretation as Language: I revisit an icon using a visual grammar familiar to digital natives.
- GIF and Loop Aesthetics: The animation evokes vernacular web art, a contemplative loop designed for the screen.
- Temporal Coexistence: The work illustrates how past (analog/suffering) and present (digital/utopia) can coexist as layered realities.

Synthesis

“Utopian Moment of Life” is a multi-layered meditation on human relationships. By constructing a palimpsest where acrylic meets pixel, I develop a subrealist abstraction that moves beneath appearances to reveal emotional essence.

- Tribute to Vincent van Gogh: Three Pairs of Shoes (collection: Fogg Art Museum, Harvard University)
- Hybrid digital version: 3840 × 2160 px / 4K MP4 / 187 MB / 8 fps / 1/1 edition

technique

collage

format

landscape

duration

01:00

year

n/a

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