Bitcoin Magazine
Post Wook: Surreal and Immersive Art on Bitcoin & the Future of Digital Expression
As the Bitcoin Conference 2025 approaches, set for May 27-29th at the Venetian in Las Vegas, digital artist Post Wookāknown for her surreal, psychedelic landscapes that merge cosmic and natural elementsāis set to bring her latest series, āThe Astronomerās Daughterā to a large audience of bitcoiners. In tribute to her father, a long-time NASA employee, this ordinals series uniquely merges satellite data and bitcoin block times, alongside seasonal and astronomical patterns such as the phases of the moon. Post Wook will showcase this work as part of both B25 and the off-site ordinals event, Inscribing Vegas.
I caught up with Post Wook to discuss her latest digital art series, the future of immersive art, and the experience of seeing her work featured on the Sphere in Las Vegas.
The Las Vegas Sphere has quickly become the principal attraction on the Las Vegas Strip. What was it like to see your artwork, āEverywhere but Inward,ā displayed on the Sphere for the first time?
It honestly felt very surreal! Having worked on the piece for over a year, I was super familiar with the animation sequencing, but seeing it actually on the Sphere for the first time felt so cool. The Sphere is LARGE, and you think you know that when you see photos, but then when you see it in real life it blows you away. We got to our lookout spot in Vegas about 15-20 min before it popped up in the programming, and once it actually came on it felt so wild! I think I started clapping. I never do that. I was just so happy to be in the moment.
The Sphere is one of the worldās largest and most sophisticated immersive platforms, featuring a 16K resolution interior and an exterior LED display that spans over 580,000 square feet. How does the scale of the Sphereās surface affect the viewerās perception of your digital artwork? Youāre no stranger to fantastical landscapes or extra-perceptionary vistas, so this must have been especially interesting to take in.
The actual process of animating Everywhere but Inward, 2024 for Sphere was interesting because with a screen that big the animation had to be a lot slower than Iād normally animate. So honestly, watching the animation as an equirectangular piece on my monitor felt like watching paint dry. But watching it on Sphere, it feels like a regular animation. I guess thatās just showbiz.
On the whole Iām just excited to see digital art take center stage. With Sphere in Vegas becoming literally the talk of the strip to the new Sphere theyāre building in Dubai, itās pretty obvious that digital art is on the rise and is becoming increasingly legitimate to the world around us.
The ephemeral nature of a public display on the Sphere contrasts with the permanence and immutability of on-chain art. How do you view the tension between the grandeur of public spectacle and the private, immutable ownership of digital art? Does this shift in how art is owned and experienced influence your approach to creating and presenting your work?
I sort of look at it like āexteriorā and āinteriorā work with Sphere showing people that digital art is cool and on-chain art reinforces that digital art is valuable. The public spectacle brings people in and on-chain ownership provides traceable provenance. Iād like to think I balance that tension well. By having licensed work in Target and auctions in Sothebyās, Iām able to find solace in providing art at every level because I really believe art is for everyone, and everyone deserves a little bit of POST WOOK finery in their lives.
On the other hand, on-chain art has broken open the door for me to become a mad scientist for my āupper endā artwork by creating art that uses blockchain as a medium, and honestly itās become some of my favorite art to make. Iāve always had a soft spot for research, so being able to combine complex data sets and my creativity feels like a dream. To off-chain people, I like to explain this work sort of like the photographs from Harry Potter, except instead of using magic to animate the images, we use code and blockchain.
I find it even cooler that I get to sit down with collectors that share my same data-driven interests and chat about the future of digital art. I honestly have to pinch myself sometimes because I feel like I truly have the best of both worlds with creating meticulously detailed on-chain art and aesthetically pleasing retail art.
Tell us more about āThe Astronomerās Daughterā series, and what can Bitcoin Conference or Inscribing Vegas attendees expect to see from this series in May? I heard a rumor that your dad might be making the trip.
The Astronomerās Daughter has sort of become my favorite little brainchild, and itās been really fun to watch it blossom. Itās a collection that honors my dadās legacy working for NASA through the blended use of satellite data and my artistic style. I chose 100 rare satoshis with varying levels of astronomical and on-chain significance to showcase what happened in space that day.
Of all the various components, the moon phases are accounted for as the moon displayed in each image, the constellation the moon passes through is represented by the color of the sky, any planets close to earth are displayed accordingly, the month and the season are shown as the landscape in the image, solar holidays (equinoxes and solstices) are recorded, and thereās a chromatic filter on top of every image based on the year of the satoshi to tie it all together.
Each piece is then pulled together using recursion and inscribed directly on the satoshi that the artwork represents.
In May, Iām debuting five (5) physical shadow boxes of select pieces from The Astronomerās Daughter to showcase each layer of the artwork, acting almost as a physical representation of each recursive element. These pieces will be on display in the Bitcoin Conference Las Vegas, and theyāll be a sight to see! And yes, Father Wook might even be there but I donāt want to give too much away ā people will have to come see for themselves!
See Post Wookās artwork at both Bitcoin Conference Las Vegas and Inscribing Vegas. Tickets for these events, along with access to a full range of after parties, are available as part of the Bitcoin Week bundle here: https://b.tc/conference/2025/bitcoin-week.
This post Post Wook: Surreal and Immersive Art on Bitcoin & the Future of Digital Expression first appeared on Bitcoin Magazine and is written by Dennis Koch.
Full story here:
Post Wook: Surreal and Immersive Art on Bitcoin & the Future of Digital Expression
As the Bitcoin Conference 2025 approaches, set for May 27-29th at the Venetian in Las Vegas, digital artist Post Wookāknown for her surreal, psychedelic landscapes that merge cosmic and natural elementsāis set to bring her latest series, āThe Astronomerās Daughterā to a large audience of bitcoiners. In tribute to her father, a long-time NASA employee, this ordinals series uniquely merges satellite data and bitcoin block times, alongside seasonal and astronomical patterns such as the phases of the moon. Post Wook will showcase this work as part of both B25 and the off-site ordinals event, Inscribing Vegas.
I caught up with Post Wook to discuss her latest digital art series, the future of immersive art, and the experience of seeing her work featured on the Sphere in Las Vegas.
The Las Vegas Sphere has quickly become the principal attraction on the Las Vegas Strip. What was it like to see your artwork, āEverywhere but Inward,ā displayed on the Sphere for the first time?
It honestly felt very surreal! Having worked on the piece for over a year, I was super familiar with the animation sequencing, but seeing it actually on the Sphere for the first time felt so cool. The Sphere is LARGE, and you think you know that when you see photos, but then when you see it in real life it blows you away. We got to our lookout spot in Vegas about 15-20 min before it popped up in the programming, and once it actually came on it felt so wild! I think I started clapping. I never do that. I was just so happy to be in the moment.
The Sphere is one of the worldās largest and most sophisticated immersive platforms, featuring a 16K resolution interior and an exterior LED display that spans over 580,000 square feet. How does the scale of the Sphereās surface affect the viewerās perception of your digital artwork? Youāre no stranger to fantastical landscapes or extra-perceptionary vistas, so this must have been especially interesting to take in.
The actual process of animating Everywhere but Inward, 2024 for Sphere was interesting because with a screen that big the animation had to be a lot slower than Iād normally animate. So honestly, watching the animation as an equirectangular piece on my monitor felt like watching paint dry. But watching it on Sphere, it feels like a regular animation. I guess thatās just showbiz.
On the whole Iām just excited to see digital art take center stage. With Sphere in Vegas becoming literally the talk of the strip to the new Sphere theyāre building in Dubai, itās pretty obvious that digital art is on the rise and is becoming increasingly legitimate to the world around us.
The ephemeral nature of a public display on the Sphere contrasts with the permanence and immutability of on-chain art. How do you view the tension between the grandeur of public spectacle and the private, immutable ownership of digital art? Does this shift in how art is owned and experienced influence your approach to creating and presenting your work?
I sort of look at it like āexteriorā and āinteriorā work with Sphere showing people that digital art is cool and on-chain art reinforces that digital art is valuable. The public spectacle brings people in and on-chain ownership provides traceable provenance. Iād like to think I balance that tension well. By having licensed work in Target and auctions in Sothebyās, Iām able to find solace in providing art at every level because I really believe art is for everyone, and everyone deserves a little bit of POST WOOK finery in their lives.
On the other hand, on-chain art has broken open the door for me to become a mad scientist for my āupper endā artwork by creating art that uses blockchain as a medium, and honestly itās become some of my favorite art to make. Iāve always had a soft spot for research, so being able to combine complex data sets and my creativity feels like a dream. To off-chain people, I like to explain this work sort of like the photographs from Harry Potter, except instead of using magic to animate the images, we use code and blockchain.
I find it even cooler that I get to sit down with collectors that share my same data-driven interests and chat about the future of digital art. I honestly have to pinch myself sometimes because I feel like I truly have the best of both worlds with creating meticulously detailed on-chain art and aesthetically pleasing retail art.
Tell us more about āThe Astronomerās Daughterā series, and what can Bitcoin Conference or Inscribing Vegas attendees expect to see from this series in May? I heard a rumor that your dad might be making the trip.
The Astronomerās Daughter has sort of become my favorite little brainchild, and itās been really fun to watch it blossom. Itās a collection that honors my dadās legacy working for NASA through the blended use of satellite data and my artistic style. I chose 100 rare satoshis with varying levels of astronomical and on-chain significance to showcase what happened in space that day.
Of all the various components, the moon phases are accounted for as the moon displayed in each image, the constellation the moon passes through is represented by the color of the sky, any planets close to earth are displayed accordingly, the month and the season are shown as the landscape in the image, solar holidays (equinoxes and solstices) are recorded, and thereās a chromatic filter on top of every image based on the year of the satoshi to tie it all together.
Each piece is then pulled together using recursion and inscribed directly on the satoshi that the artwork represents.
In May, Iām debuting five (5) physical shadow boxes of select pieces from The Astronomerās Daughter to showcase each layer of the artwork, acting almost as a physical representation of each recursive element. These pieces will be on display in the Bitcoin Conference Las Vegas, and theyāll be a sight to see! And yes, Father Wook might even be there but I donāt want to give too much away ā people will have to come see for themselves!
See Post Wookās artwork at both Bitcoin Conference Las Vegas and Inscribing Vegas. Tickets for these events, along with access to a full range of after parties, are available as part of the Bitcoin Week bundle here: https://b.tc/conference/2025/bitcoin-week.
This post Post Wook: Surreal and Immersive Art on Bitcoin & the Future of Digital Expression first appeared on Bitcoin Magazine and is written by Dennis Koch.
Full story here:
![[DK]](/data/avatars/s/57/57999.jpg?1720990206){kind=avatar}
