EVERY PLATFORM SAYS IT'S FOR CREATORS. FOR EXPRESSION. BUT THE SECOND YOU TOUCH SOMETHING REAL. THEY BURY IT. NO EXPLANATION.
JUST SILENCE. THEY SAY IT'S "SAFETY." WHAT THEY MEAN IS CONTROL.
THEY DON'T BAN YOU. THEY JUST MAKE SURE NO ONE SEES IT. QUIET CENSORSHIP WRAPPED IN CLEAN DESIGN.
Slimesunday
superrare
24hours of art
Slimesunday
superrare
24hours of art
Slimesunday
superrare
24hours of art
Polite Language branded values. They don't need to say "stop" they just fade you out until you disappear. and it's not the audience that's afraid. It's the people in the conference rooms. The ones writing the rules. optimizing the platforms.
so yeah, i could play it safe. make what fits. but that work wouldn't be mine.
Polite Language branded values. They don't need to say "stop" they just fade you out until you disappear. and it's not the audience that's afraid. It's the people in the conference rooms. The ones writing the rules. optimizing the platforms.
so yeah, i could play it safe. make what fits. but that work wouldn't be mine.
EVERY PLATFORM SAYS IT'S FOR CREATORS. FOR EXPRESSION. BUT THE SECOND YOU TOUCH SOMETHING REAL. THEY BURY IT. NO EXPLANATION.
JUST SILENCE. THEY SAY IT'S "SAFETY." WHAT THEY MEAN IS CONTROL.
THEY DON'T BAN YOU. THEY JUST MAKE SURE NO ONE SEES IT. QUIET CENSORSHIP WRAPPED IN CLEAN DESIGN.
Polite Language branded values. They don't need to say "stop" they just fade you out until you disappear. and it's not the audience that's afraid. It's the people in the conference rooms. The ones writing the rules. optimizing the platforms.
so yeah, i could play it safe. make what fits. but that work wouldn't be mine.
Slimesunday
superrare
24hours of art
Slimesunday
superrare
24hours of art
About the Artist
Slimesunday is a digital collage artist based out of Salem, MA. He consistently pushes the limits of what is acceptable in mainstream media exploring censorship through bizarre and erotic topics. While often having his work banned from social platforms for violating their terms and conditions he ironically has amassed a large social following. Since he began sharing his work as NFTs, Slimesunday is one of the top highest earning artists in the space. Slimesunday’s art can also be found in Playboy, Penthouse, Hunger, Plastik, and Glamour Magazine. He has been involved with projects with J. Cole, Lana Del Rey, Katy Perry, J Balvin, and Beck. He is the current art director for 3LAU and makes up half of the audio-visual project SSX3LAU.
About the Artist
Slimesunday is a digital collage artist based out of Salem, MA. He consistently pushes the limits of what is acceptable in mainstream media exploring censorship through bizarre and erotic topics. While often having his work banned from social platforms for violating their terms and conditions he ironically has amassed a large social following. Since he began sharing his work as NFTs, Slimesunday is one of the top highest earning artists in the space. Slimesunday’s art can also be found in Playboy, Penthouse, Hunger, Plastik, and Glamour Magazine. He has been involved with projects with J. Cole, Lana Del Rey, Katy Perry, J Balvin, and Beck. He is the current art director for 3LAU and makes up half of the audio-visual project SSX3LAU.
About the Artist
Slimesunday is a digital collage artist based out of Salem, MA. He consistently pushes the limits of what is acceptable in mainstream media exploring censorship through bizarre and erotic topics. While often having his work banned from social platforms for violating their terms and conditions he ironically has amassed a large social following. Since he began sharing his work as NFTs, Slimesunday is one of the top highest earning artists in the space. Slimesunday’s art can also be found in Playboy, Penthouse, Hunger, Plastik, and Glamour Magazine. He has been involved with projects with J. Cole, Lana Del Rey, Katy Perry, J Balvin, and Beck. He is the current art director for 3LAU and makes up half of the audio-visual project SSX3LAU.
About the collection
Slimesunday returns with Banned from New York, a solo exhibition at the Offline Gallery, presented by SuperRare in partnership with Roger Dickerman, debuting a bold new body of digital and physical works that confront censorship, nostalgia, and the politics of visibility.
Known for his surreal collages and fearless approach to subversion, Slimesunday presents handcrafted sculptures, weathered wheatpaste assemblages, pixelated photo grids, and animations inspired by early Internet culture, each piece asking: Who controls what we see and what we’re allowed to say? From MS Paint to modern-day algorithms, Banned from New York challenges the systems that shape creativity, belief, and the boundaries of censorship.
About the collection
Slimesunday returns with Banned from New York, a solo exhibition at the Offline Gallery, presented by SuperRare in partnership with Roger Dickerman, debuting a bold new body of digital and physical works that confront censorship, nostalgia, and the politics of visibility.
Known for his surreal collages and fearless approach to subversion, Slimesunday presents handcrafted sculptures, weathered wheatpaste assemblages, pixelated photo grids, and animations inspired by early Internet culture, each piece asking: Who controls what we see and what we’re allowed to say? From MS Paint to modern-day algorithms, Banned from New York challenges the systems that shape creativity, belief, and the boundaries of censorship.
About the collection
Slimesunday returns with Banned from New York, a solo exhibition at the Offline Gallery, presented by SuperRare in partnership with Roger Dickerman, debuting a bold new body of digital and physical works that confront censorship, nostalgia, and the politics of visibility.
Known for his surreal collages and fearless approach to subversion, Slimesunday presents handcrafted sculptures, weathered wheatpaste assemblages, pixelated photo grids, and animations inspired by early Internet culture, each piece asking: Who controls what we see and what we’re allowed to say? From MS Paint to modern-day algorithms, Banned from New York challenges the systems that shape creativity, belief, and the boundaries of censorship.
Exhibition
Fireside chat with RD from 24 Hours of Art: July 31, 6–7PM
Opening Reception: July 31, 7–9PM
RSVP ›
Exhibition
Fireside chat with RD from 24 Hours of Art: July 31, 6–7PM
Opening Reception: July 31, 7–9PM
RSVP ›
Exhibition
Fireside chat with RD from 24 Hours of Art: July 31, 6–7PM
Opening Reception: July 31, 7–9PM
RSVP ›
Slimesunday
superrare
24hours of art
Slimesunday
superrare
24hours of art
SlimeSunday
MS Paint
2024
42¼ x 42 ¼ inches Framed
Paper collage and acrylic paint on Urethane and wood
Physical 1/1 with NFT included (optional)
$18,000
MS Paint was the first digital tool I ever encountered. I was five years old, playing around on an old Hewlett Packard computer, mesmerized by the simplicity and creative freedom it offered.
In many ways, this artwork has been in development ever since.
The physical form of the piece began with a 3D model of the MS Paint UI, physically carved out of HDU (high density urethane). I chose HDU because it has a wood-like feel but with superior archival qualities, it doesn’t degrade over time, takes paint beautifully, and cuts cleanly on a CNC machine.
Once the form was carved to exact specifications, I hand-painted the entire piece using acrylics, carefully color matching the original MS Paint palette to maintain digital accuracy in this physical medium.
At the center is a layered digital collage, which I created by physically printing the digital assets on acid-free bond paper, and then assembling them in multiple layers using neutral pH adhesives to ensure long-term stability. A final varnish was applied on top to give the surface a painterly finish.
The image itself was inspired by the iconic Windows 98 “Bliss” background. The woman lying in a field is a reinterpretation of that image.
To me, the entire artwork is the physical embodiment of digital nostalgia, a tangible tribute to the time I grew up in, which now exists only fleetingly in my memories, and yet which resounds throughout my practice.
SlimeSunday
MS Paint
2024
42¼ x 42 ¼ inches Framed
Paper collage and acrylic paint on Urethane and wood
Physical 1/1 with NFT included (optional)
$18,000
MS Paint was the first digital tool I ever encountered. I was five years old, playing around on an old Hewlett Packard computer, mesmerized by the simplicity and creative freedom it offered.
In many ways, this artwork has been in development ever since.
The physical form of the piece began with a 3D model of the MS Paint UI, physically carved out of HDU (high density urethane). I chose HDU because it has a wood-like feel but with superior archival qualities, it doesn’t degrade over time, takes paint beautifully, and cuts cleanly on a CNC machine.
Once the form was carved to exact specifications, I hand-painted the entire piece using acrylics, carefully color matching the original MS Paint palette to maintain digital accuracy in this physical medium.
At the center is a layered digital collage, which I created by physically printing the digital assets on acid-free bond paper, and then assembling them in multiple layers using neutral pH adhesives to ensure long-term stability. A final varnish was applied on top to give the surface a painterly finish.
The image itself was inspired by the iconic Windows 98 “Bliss” background. The woman lying in a field is a reinterpretation of that image.
To me, the entire artwork is the physical embodiment of digital nostalgia, a tangible tribute to the time I grew up in, which now exists only fleetingly in my memories, and yet which resounds throughout my practice.
SlimeSunday
MS Paint
2024
Paper collage and acrylic paint on Urethane and wood
42¼ x 42 ¼ inches framed
Physical 1/1 with NFT included (optional)
$18,000
MS Paint was the first digital tool I ever encountered. I was five years old, playing around on an old Hewlett Packard computer, mesmerized by the simplicity and creative freedom it offered.
In many ways, this artwork has been in development ever since.
The physical form of the piece began with a 3D model of the MS Paint UI, physically carved out of HDU (high density urethane). I chose HDU because it has a wood-like feel but with superior archival qualities, it doesn’t degrade over time, takes paint beautifully, and cuts cleanly on a CNC machine.
Once the form was carved to exact specifications, I hand-painted the entire piece using acrylics, carefully color matching the original MS Paint palette to maintain digital accuracy in this physical medium.
At the center is a layered digital collage, which I created by physically printing the digital assets on acid-free bond paper, and then assembling them in multiple layers using neutral pH adhesives to ensure long-term stability. A final varnish was applied on top to give the surface a painterly finish.
The image itself was inspired by the iconic Windows 98 “Bliss” background. The woman lying in a field is a reinterpretation of that image.
To me, the entire artwork is the physical embodiment of digital nostalgia, a tangible tribute to the time I grew up in, which now exists only fleetingly in my memories, and yet which resounds throughout my practice.
SlimeSunday
No Time to Kare
2025
MP4
3840 × 2160
5 ETH
SlimeSunday
No Time to Kare
2025
MP4
3840 × 2160
Digital 1/1 Mint by Request
$
These pieces pull straight from my early Internet memories. They are digital animations built on nostalgia, vibe-coded in p5.js. with Bitmap type, some dithering, and crushed resolution. I wasn’t trying to make it clean. I wanted it to feel like a hard drive from 2003, messy and alive. Susan Kare is the graphic designer who created some of the first interface graphics for Apple computers - one of the most influential artists you’ve never heard of.
Together, these pieces feel like scrolling through a corrupted archive of my teenage desktop. The times I’d download Winamp skins off sketchy forums, crash my parents’ computer with the wrong LimeWire or Napster file, and swear it wasn’t me. That era of experimenting, learning, taking apart and putting together - it wasn’t just influence, it’s what led me here today.
SlimeSunday
No Time to Kare
2025
MP4 (1/1 Digital NFT)
3840 × 2160
Digital 1/1 Mint by Request
$
These pieces pull straight from my early Internet memories. They are digital animations built on nostalgia, vibe-coded in p5.js. with Bitmap type, some dithering, and crushed resolution. I wasn’t trying to make it clean. I wanted it to feel like a hard drive from 2003, messy and alive. Susan Kare is the graphic designer who created some of the first interface graphics for Apple computers - one of the most influential artists you’ve never heard of.
Together, these pieces feel like scrolling through a corrupted archive of my teenage desktop. The times I’d download Winamp skins off sketchy forums, crash my parents’ computer with the wrong LimeWire or Napster file, and swear it wasn’t me. That era of experimenting, learning, taking apart and putting together - it wasn’t just influence, it’s what led me here today.
SlimeSunday
Winamp V6.9
2025
MP4 (1/1 Digital NFT)
2160x3840
5 ETH
Sold
SlimeSunday
No Time to Kare
2025
MP4
3840 × 2160
5 ETH
These pieces pull straight from my early Internet memories. They are digital animations built on nostalgia, vibe-coded in p5.js. with Bitmap type, some dithering, and crushed resolution. I wasn’t trying to make it clean. I wanted it to feel like a hard drive from 2003, messy and alive. Susan Kare is the graphic designer who created some of the first interface graphics for Apple computers - one of the most influential artists you’ve never heard of.
Together, these pieces feel like scrolling through a corrupted archive of my teenage desktop. The times I’d download Winamp skins off sketchy forums, crash my parents’ computer with the wrong LimeWire or Napster file, and swear it wasn’t me. That era of experimenting, learning, taking apart and putting together - it wasn’t just influence, it’s what led me here today.
SlimeSunday
Winamp V6.9
2025
MP4 (1/1 Digital NFT)
2160x3840
5 ETH
Sold
SlimeSunday
Winamp V6.9
2025
MP4
2160x3840
Digital 1/1 Mint by Request
$
5 ETH
Sold
SlimeSunday
Lady Liberty
2025
Sold
If I got to redesign the Statue of Liberty, this is what she’d look like, because freedom doesn’t mean what it used to, especially not online, where most of contemporary existence plays out.
I’ve had critics say my work is just shock for shock’s sake. That’s easy to say when you ignore its context.
I’m releasing this online, via distribution paths built to suppress anything that pushes too far (the social media platforms that govern our public lives).
Community guidelines aren’t just rules, they’re borders. And art like mine lives right on the edge of them. Most people would stop. I didn’t. I pushed harder. Even when it wrecked my reach due to algorithms out of my control. Even when I got flagged, banned, shadowbanned, throttled… whatever term they’re using now to bury things they don’t want seen.
Posting work like this doesn’t help my reach. It hurts. But the fact that it’s punished at all? That’s exactly why it needs to exist.
SlimeSunday
Lady Liberty
2025
Sold
If I got to redesign the Statue of Liberty, this is what she’d look like, because freedom doesn’t mean what it used to, especially not online, where most of contemporary existence plays out.
I’ve had critics say my work is just shock for shock’s sake. That’s easy to say when you ignore its context.
I’m releasing this online, via distribution paths built to suppress anything that pushes too far (the social media platforms that govern our public lives).
Community guidelines aren’t just rules, they’re borders. And art like mine lives right on the edge of them. Most people would stop. I didn’t. I pushed harder. Even when it wrecked my reach due to algorithms out of my control. Even when I got flagged, banned, shadowbanned, throttled… whatever term they’re using now to bury things they don’t want seen.
Posting work like this doesn’t help my reach. It hurts. But the fact that it’s punished at all? That’s exactly why it needs to exist.
SlimeSunday
Lady Liberty
2025
Sold
If I got to redesign the Statue of Liberty, this is what she’d look like, because freedom doesn’t mean what it used to, especially not online, where most of contemporary existence plays out.
I’ve had critics say my work is just shock for shock’s sake. That’s easy to say when you ignore its context.
I’m releasing this online, via distribution paths built to suppress anything that pushes too far (the social media platforms that govern our public lives).
Community guidelines aren’t just rules, they’re borders. And art like mine lives right on the edge of them. Most people would stop. I didn’t. I pushed harder. Even when it wrecked my reach due to algorithms out of my control. Even when I got flagged, banned, shadowbanned, throttled… whatever term they’re using now to bury things they don’t want seen.
Posting work like this doesn’t help my reach. It hurts. But the fact that it’s punished at all? That’s exactly why it needs to exist.
SlimeSunday
Weedman
2022
Resin, Weed, Paper
22in x 17in x 4.5in
Physical 1/1 with NFT included (optional)
$25,000
The fusion of a vintage Playboy magazine and a pile of ground weed on my coffee table, this artwork originated from a late-night creative session.
While working on visuals for one of Playboy's final print issues, which included an article titled 'In Drugs We Trust,' I came across an old sunglasses ad featuring Renauld White. This encounter led to an experimental fusion of marijuana and glue, culminating in one of my all time personal favorite artworks.
Over the years, this concept underwent significant evolution. I presented Playboy with a proposal to reimagine 'Weedman' on a larger scale, increasing its size fivefold and setting it in transparent resin.
Although initially celebrating marijuana's widespread legalization and recreational use, our collaboration evolved into a deeper narrative. The artwork emerged as a statement on the disproportionate impact of historical drug laws on Black communities. As a commitment to social justice, Playboy and I donated $10,000 to the Last Prisoner Project, symbolizing our dedication to addressing the injustices caused by previous cannabis convictions.
SlimeSunday
Weedman
2022
Resin, Weed, Paper
22in x 17in x 4.5in
Physical 1/1 with NFT included (optional)
$25,000
The fusion of a vintage Playboy magazine and a pile of ground weed on my coffee table, this artwork originated from a late-night creative session.
While working on visuals for one of Playboy's final print issues, which included an article titled 'In Drugs We Trust,' I came across an old sunglasses ad featuring Renauld White. This encounter led to an experimental fusion of marijuana and glue, culminating in one of my all time personal favorite artworks.
Over the years, this concept underwent significant evolution. I presented Playboy with a proposal to reimagine 'Weedman' on a larger scale, increasing its size fivefold and setting it in transparent resin.
Although initially celebrating marijuana's widespread legalization and recreational use, our collaboration evolved into a deeper narrative. The artwork emerged as a statement on the disproportionate impact of historical drug laws on Black communities. As a commitment to social justice, Playboy and I donated $10,000 to the Last Prisoner Project, symbolizing our dedication to addressing the injustices caused by previous cannabis convictions.
SlimeSunday
Weedman
2022
Resin, Weed, Paper
22in x 17in x 4.5in
Physical 1/1 with NFT included (optional)
$25,000
The fusion of a vintage Playboy magazine and a pile of ground weed on my coffee table, this artwork originated from a late-night creative session.
While working on visuals for one of Playboy's final print issues, which included an article titled 'In Drugs We Trust,' I came across an old sunglasses ad featuring Renauld White. This encounter led to an experimental fusion of marijuana and glue, culminating in one of my all time personal favorite artworks.
Over the years, this concept underwent significant evolution. I presented Playboy with a proposal to reimagine 'Weedman' on a larger scale, increasing its size fivefold and setting it in transparent resin.
Although initially celebrating marijuana's widespread legalization and recreational use, our collaboration evolved into a deeper narrative. The artwork emerged as a statement on the disproportionate impact of historical drug laws on Black communities. As a commitment to social justice, Playboy and I donated $10,000 to the Last Prisoner Project, symbolizing our dedication to addressing the injustices caused by previous cannabis convictions.
Wheatpaste Works
A few times a year, I take the train into NYC from Boston for the day and just walk around the city looking for cool posters, specifically the stuff that's been on walls for years, looks super damaged, and has been getting no love.
No matter how hard I try, I can never replicate that particular look. It’s the type of thing you can only find in New York. Nowhere else on earth is there such a high concentration of graffiti and wheatpaste and the detritus of posters, signs, fliers - messages and images that are no longer valid, but still have something to say.
As a collage artist, New York is just filled with this unloved but inspirational stuff. My art journey started by digging through magazines and finding old photos that people hadn't seen in decades. Those are the types of things that need love and repurposing - to me, the walls of NYC have the same need, and provide the same beautiful source material.
SlimeSunday
Marked
2025
NYC Wheatpaste on Wood Panel, acrylic paint
40in x 50in
Physical 1/1 with NFT included (optional)
$15,000
This piece isn't about vandalism, it’s about flipping the switch. Saying no to the systems trying to control what you’re allowed to make, say, or even think.
Religion was the original algorithm. It trained you to behave a certain way, speak a certain way, feel guilty for even thinking the wrong thing. It was and still is, control dressed up as salvation.
Now we’ve just rebranded it.
Today, the church is digital. It’s run by platforms and policies. The priests wear Patagonia vests and sit on panels at tech conferences. They don’t need to burn your work. Instead they just quietly bury it in the feed and you don’t even know it’s happening.
And now there’s AI. We were told it would open creative freedom, but all it really did was reinforce the new rules. Can’t show this. Can’t say that. Can’t be too real. It filters your work before you even make it. Try generating any image with heavy themes in ChatGPT or Midjourney and you'll soon find out who wants to control your creativity.
SlimeSunday
Marked
2025
NYC Wheatpaste on Wood Panel, acrylic paint
40in x 50in
Physical 1/1 with NFT included (optional)
$15,000
This piece isn't about vandalism, it’s about flipping the switch. Saying no to the systems trying to control what you’re allowed to make, say, or even think.
Religion was the original algorithm. It trained you to behave a certain way, speak a certain way, feel guilty for even thinking the wrong thing. It was and still is, control dressed up as salvation.
Now we’ve just rebranded it.
Today, the church is digital. It’s run by platforms and policies. The priests wear Patagonia vests and sit on panels at tech conferences. They don’t need to burn your work. Instead they just quietly bury it in the feed and you don’t even know it’s happening.
And now there’s AI. We were told it would open creative freedom, but all it really did was reinforce the new rules. Can’t show this. Can’t say that. Can’t be too real. It filters your work before you even make it. Try generating any image with heavy themes in ChatGPT or Midjourney and you'll soon find out who wants to control your creativity.
SlimeSunday
Marked
2025
NYC Wheatpaste on Wood Panel, acrylic paint
40in x 50in
Physical 1/1 with NFT included (optional)
$15,000
This piece isn't about vandalism, it’s about flipping the switch. Saying no to the systems trying to control what you’re allowed to make, say, or even think.
Religion was the original algorithm. It trained you to behave a certain way, speak a certain way, feel guilty for even thinking the wrong thing. It was and still is, control dressed up as salvation.
Now we’ve just rebranded it.
Today, the church is digital. It’s run by platforms and policies. The priests wear Patagonia vests and sit on panels at tech conferences. They don’t need to burn your work. Instead they just quietly bury it in the feed and you don’t even know it’s happening.
And now there’s AI. We were told it would open creative freedom, but all it really did was reinforce the new rules. Can’t show this. Can’t say that. Can’t be too real. It filters your work before you even make it. Try generating any image with heavy themes in ChatGPT or Midjourney and you'll soon find out who wants to control your creativity.
SlimeSunday
Sunday School Dropout
2025
NYC Wheatpaste on Wood Panel
40in x 40in
Physical 1/1 with NFT included (optional)
$14,000
This piece was actually censored from my last gallery show. Truly banned. I had no idea at the time, but the gallerist turned out to be hyper religious and was offended by the image and told me I couldn’t include it.
Pushing buttons has always been a part of my work. I like making things that challenge people, things that don’t please everyone. While this piece is open to interpretation, it actually comes from a deeply personal place.
I have a longstanding disdain for religious ideologies, mostly because that is what triggered my own mental health struggles. When I was 11, I became obsessed with the idea that I was going to hell for thoughts I couldn’t control. That fear consumed me, and would later be diagnosed as OCD.
Childhood, for me, was heavy. I was haunted by this belief in an all-seeing, all-knowing god who judged every passing thought. I avoided normal experiences because I truly believed that even the smallest mistake would send me straight to hell.
In my view, religion isn’t peaceful, it’s violent. It’s used as a weapon: it starts wars, it controls people’s behavior, and in my case, religion severely damaged my mental health.
If you’re someone who’s hyper-religious, relax. Just looking at this image won’t send you to hell. And if anyone’s going, it’ll be me for making it.
SlimeSunday
Sunday School Dropout
2025
NYC Wheatpaste on Wood Panel
40in x 40in
Physical 1/1 with NFT included (optional)
$14,000
This piece was actually censored from my last gallery show. Truly banned. I had no idea at the time, but the gallerist turned out to be hyper religious and was offended by the image and told me I couldn’t include it.
Pushing buttons has always been a part of my work. I like making things that challenge people, things that don’t please everyone. While this piece is open to interpretation, it actually comes from a deeply personal place.
I have a longstanding disdain for religious ideologies, mostly because that is what triggered my own mental health struggles. When I was 11, I became obsessed with the idea that I was going to hell for thoughts I couldn’t control. That fear consumed me, and would later be diagnosed as OCD.
Childhood, for me, was heavy. I was haunted by this belief in an all-seeing, all-knowing god who judged every passing thought. I avoided normal experiences because I truly believed that even the smallest mistake would send me straight to hell.
In my view, religion isn’t peaceful, it’s violent. It’s used as a weapon: it starts wars, it controls people’s behavior, and in my case, religion severely damaged my mental health.
If you’re someone who’s hyper-religious, relax. Just looking at this image won’t send you to hell. And if anyone’s going, it’ll be me for making it.
SlimeSunday
Sunday School Dropout
2025
NYC Wheatpaste on Wood Panel
40in x 40in
Physical 1/1 with NFT included (optional)
$14,000
This piece was actually censored from my last gallery show. Truly banned. I had no idea at the time, but the gallerist turned out to be hyper religious and was offended by the image and told me I couldn’t include it.
Pushing buttons has always been a part of my work. I like making things that challenge people, things that don’t please everyone. While this piece is open to interpretation, it actually comes from a deeply personal place.
I have a longstanding disdain for religious ideologies, mostly because that is what triggered my own mental health struggles. When I was 11, I became obsessed with the idea that I was going to hell for thoughts I couldn’t control. That fear consumed me, and would later be diagnosed as OCD.
Childhood, for me, was heavy. I was haunted by this belief in an all-seeing, all-knowing god who judged every passing thought. I avoided normal experiences because I truly believed that even the smallest mistake would send me straight to hell.
In my view, religion isn’t peaceful, it’s violent. It’s used as a weapon: it starts wars, it controls people’s behavior, and in my case, religion severely damaged my mental health.
If you’re someone who’s hyper-religious, relax. Just looking at this image won’t send you to hell. And if anyone’s going, it’ll be me for making it.
Squares Works
These works were inspired by David Hockney’s Joiners series, photographic collages pieced together from multiple polaroids shot at slightly varying angles to form a legible whole image.
The concept of remixing, of taking apart and putting back together, is one I return to again and again; for me, the whole can be much more than the sum of its parts.
For each of the physical pieces, I’ve taken 3 individual prints, cut them up, and strategically reassembled them to create visual shifts that blur or - perhaps, pixelate - the image.
The resultant composition becomes a minimalist grid that rests upon an obscured nude subject, thus relating it back to my ongoing interest in censorship and visual tricks.
SlimeSunday
121 Squares
2024
COLLAGE USING ARCHIVAL INK ON HAHNEMUHLE PHOTO RAG PAPER
31in x 35in FRAMED
Physical 1/1 with NFT included (optional)
$10,000
SlimeSunday
121 Squares
2024
COLLAGE USING ARCHIVAL INK ON HAHNEMUHLE PHOTO RAG PAPER
31in x 35in FRAMED
Physical 1/1 with NFT included (optional)
$10,000
SlimeSunday
121 Squares
2024
COLLAGE USING ARCHIVAL INK ON HAHNEMUHLE PHOTO RAG PAPER
31in x 35in FRAMED
Physical 1/1 with NFT included (optional)
$10,000
SlimeSunday
180 Squares
2024
COLLAGE USING ARCHIVAL INK ON HAHNEMUHLE PHOTO RAG PAPER
31in x 35in FRAMED
Physical 1/1 with NFT included (optional)
$10,000
SlimeSunday
180 Squares
2024
COLLAGE USING ARCHIVAL INK ON HAHNEMUHLE PHOTO RAG PAPER
31in x 35in FRAMED
Physical 1/1 with NFT included (optional)
$10,000
SlimeSunday
180 Squares
2024
COLLAGE USING ARCHIVAL INK ON HAHNEMUHLE PHOTO RAG PAPER
31in x 35in FRAMED
Physical 1/1 with NFT included (optional)
$10,000
SlimeSunday
266 Squares
2024
8000x10800PX
DIGITAL NFT 1/1 MINT BY REQUEST
SlimeSunday
266 Squares
2024
8000x10800PX
DIGITAL NFT 1/1 MINT BY REQUEST
SlimeSunday
266 Squares
2024
8000x10800PX
DIGITAL NFT 1/1 MINT BY REQUEST
SlimeSunday
Roll Model
2024
8000 × 10800px
Digital NFT 1/1 Mint by Request
Roll Model is like the first-person version of the exact moment Weedman was born: I was flipping through an old Playboy, looking for things to scan, and there was just weed scattered all over the table.I just grabbed some glue, stuck a bunch of weed to this dude’s head, scanned it, and called it a day. I wasn’t overthinking, just acting, creating.
You’re looking down at the scene as it’s happening. Rolling one up, leaves everywhere. It’s how my brain jumped from point A to point B. Pure chaos, pure flow, zero strategy. Just following the thread and letting the visual tell me where to go.
That’s how some of this stuff just happens. No grand plan, just seeing something, messing with it, and realizing later it means more than I initially thought.
SlimeSunday
Roll Model
2024
8000 × 10800px
Digital NFT 1/1 Mint by Request
Roll Model is like the first-person version of the exact moment Weedman was born: I was flipping through an old Playboy, looking for things to scan, and there was just weed scattered all over the table.I just grabbed some glue, stuck a bunch of weed to this dude’s head, scanned it, and called it a day. I wasn’t overthinking, just acting, creating.
You’re looking down at the scene as it’s happening. Rolling one up, leaves everywhere. It’s how my brain jumped from point A to point B. Pure chaos, pure flow, zero strategy. Just following the thread and letting the visual tell me where to go.
That’s how some of this stuff just happens. No grand plan, just seeing something, messing with it, and realizing later it means more than I initially thought.
SlimeSunday
Roll Model
2025
8000 × 10800px
Digital NFT 1/1 Mint by Request
Roll Model is like the first-person version of the exact moment Weedman was born: I was flipping through an old Playboy, looking for things to scan, and there was just weed scattered all over the table.I just grabbed some glue, stuck a bunch of weed to this dude’s head, scanned it, and called it a day. I wasn’t overthinking, just acting, creating.
You’re looking down at the scene as it’s happening. Rolling one up, leaves everywhere. It’s how my brain jumped from point A to point B. Pure chaos, pure flow, zero strategy. Just following the thread and letting the visual tell me where to go.
That’s how some of this stuff just happens. No grand plan, just seeing something, messing with it, and realizing later it means more than I initially thought.
Slimesunday
superrare
24hours of art