The series draws a line across time, from prehistoric cave paintings to contemporary meme culture. Like early human mark-making on stone, these figures are direct, symbolic, and emotionally charged. They echo the raw urgency of ancient art, the instinctive language of art brut, and the archetypal structures of ancient, medieval and modern mythologies, where memetic hybrids carried meaning beyond representation. At the same time, they absorb the visual logic of the internet: repetition, distortion, virality, and remix.

Here, “primitive” is not regression but clarity. It is a return to something unfiltered and sincere, forms that communicate before they explain. The BEASTIES exist in this tension: ancient and post-internet, sacred and memetic, mythological and disposable.

My process begins with accumulation. I gather fragments: visual noise, forgotten symbols, degraded files, cultural residues, and let them collide. Through repetition and compression, certain shapes begin to stabilize. These are not designed so much as uncovered, like fossils emerging from a continuous digital sediment.

I think of each BEASTIE as part of the afterlife of images. In a space where deletion is an illusion, forms persist, mutate, and reappear with new charge. These creatures are adapted to that condition: built for looping, for transformation, for an onchain existence where time folds in discrete blocks.

BEASTIES emerge as an ecosystem of entities that feel both prehistoric and native to the network. They awaken something buried but familiar: a primal imaginative impulse resurfacing through contemporary systems of image circulation.

In that sense, BEASTIES is not a closed series but an evolving mythology, one that extends from cave walls to blockchain, carried forward by the same human need to give form to the unseen.