One of Us Is Real and It’s Not You

Galerie Yeche Lange is pleased to present One Of Us Is Real and It’s Not You, an exhibition of sculptures, wall works, and game boards by Supermetal Bosch and Evil Biscuit. In their first duo exhibition, Bosch and Biscuit bring their longstanding digital work to the physical space to mine ludic fantasy, the afterlife of the image, and logics of scale in digital production. One Of Us Is Real And It’s Not You unites these artists for the first time to put into dialogue their tendencies toward synthetic imagination and technical annihilation, respectively, as responses to the contemporary shift into a fully immersive image culture. Supermetal Bosch is a preeminent artist leading what became known as the Avant NFT scene. Having linked the digital collecting of the early NFT boom to the physical consumer collecting of the 00’s, Bosch has worked at the cutting edge of GAN and Stable Diffusion systems to create surreal blends, hybrids, and inventions of culture in service of imagining new worlds. To create these images, his workflow involves gathering large image archives of collectible figurines and creating digital workflows to synthesize surreal new figures born of the material of the past and set into the future. His most recent and ambitious project, Little Swag World, linked underground fashion and culture with financial speculation to become a frontrunner of the meme coin boom. The works on show feature new game boards from Bosch’s chess-like game, Super Metal Mons!, ceramic playable figurines, large scale Mons sculptures, and obelisks inscribed with symbols from the Mons universe. Evil Biscuit emerged as a contemporary in the Avant NFT sphere with several projects, namely his Drifella series that pushed the limits of PFP culture to generate abstract, gestural, and painterly images that destruct the PFP genre’s initial impulse towards figuration and faciality. By creating dizzying and chaotic layers that obscure and override one another, Biscuit harnesses the generative systems of image batching to create images that dramatize the destruction of the image amidst contemporary AI and algorithmically ordered mass-content flows. On view are a series of wall works and molded frames along with a large scale triptych, both adapted from Biscuit’s forthcoming Drifella 3 collection, as well as an edition of cast metal cards.

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