🇷🇴 Romania's 1st NFT Gallery | 🏛️ Inaugurated at Craiova Museum of Art | International William Shakespeare Festival National Theater Craiova - 21.31 May
Joined April 2023
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Originally created for CRYPTOART V11.0 organized by @ArtBeesGallery in Craiova, Romania, (2025).
Big thanks to @NONE32X32 and @ChampagneNft for this amazing opportunity.
I have just sent each of you a 'Floracure' edition🌿💉
teapaw.org/adiw_galih/status/1976…
So happy to see my piece showcased on screen at Galeria Arta in Craiova, Romania✨
Grateful to @ArtBeesGallery for featuring me in CRYPTOART V11.0
an honor to be part of this exhibition among so many amazing artist!🤍
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Make banana art great again
Throw back to Tokyo Golden Gau exhibition with @ArtBeesGallery
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Drop your ETH wallet address for 925 allowlist ⬇️
Total supply 925
Fully on chain
mint price 0.003 ETH
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@nicu_p_ is an artist working with generative systems as a form of research. Working with immersive media and computational processes as material, he explores emergent behaviour, perception, and spatial experience through cellular automata, reaction–diffusion systems, and audiovisual synthesis across images, installations, and full-dome works.
His work has been presented internationally, including at the 𝗡𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝗠𝘂𝘀𝗲𝘂𝗺 𝗼𝗳 𝗖𝗼𝗻𝘁𝗲𝗺𝗽𝗼𝗿𝗮𝗿𝘆 𝗔𝗿𝘁 (𝗠𝗡𝗔𝗖) 𝗕𝘂𝗰𝗵𝗮𝗿𝗲𝘀𝘁 as part of “Boîte, Box, Brâncuși” (2026), as well as in festivals and planetariums across Europe. In 2025, he published the paper “Algorithmic Archaeology of Folk Motifs: Nature, Code, and Cultural Memory” at the Algorithmic Pattern Conference in the Creative Arts (ALPACA), presented at Universität der Künste Berlin.
Nicu Popescu’s work is built from systems that operate independently of intention. Using cellular automata, reaction–diffusion, and audiovisual synthesis, he constructs processes that generate behaviour rather than fixed forms.
He is interested in the moment when these behaviours begin to appear meaningful. Patterns emerge, structures form, gestures seem to occur—and yet none of them are directed. The system does not communicate. It does not intend. It simply runs.
Across image, sound, and physical installation, the work stages a consistent condition: something happens, and the viewer interprets it. In WDYM?, two independently moving arms generate random motion, yet are read as expressive gestures. In generative images, noise condenses into form and is immediately perceived as intentional. In audiovisual systems, evolving signals are heard as composition.
Interaction is not the primary mechanism. Some works allow for input, but the system does not respond in a meaningful or intentional way. Behaviour unfolds regardless, and interpretation remains external to the system. The work exists in this gap—between what the system does and what the viewer believes it means.
𝗪𝗶𝗹𝗹 𝗰𝗮𝗻𝗻𝗼𝘁 𝘀𝘁𝗶𝗹𝗹 𝗲𝘅𝗶𝘀𝘁𝘀
does not illustrate a specific scene. It condenses a broader condition. The work does not depict action, but the instability that precedes it.
A dagger emerges from a field of algorithmic noise. Generated through cellular automata, the image captures a moment of form appearing from instability, as if caught mid-process.
The title invokes both “Will” as Shakespeare and will as intent. Across Shakespeare’s work, action is often delayed, fractured, or undone by thought. The dagger becomes a suspended presence—suggesting decision, conflict, and consequence, without resolving into a fixed state.
Part of // TO MINT, OR NOT TO MINT //
Craiova International Shakespeare Festival
williamshakespeare.art 💀🪶
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@skominers (scottkom.com) is the Sarofim-Rock Professor at Harvard Business School, a Faculty Affiliate of the Harvard Department of Economics and the Harvard Center of Mathematical Sciences and Applications, and an a16z crypto Research Partner.
His background is in mathematics, economics, and ethnomusicology.
He holds a PhD from Harvard University and was a Junior Fellow at the Harvard Society of Fellows.
Kominers’s art practice explores abstract puzzles as an artistic medium. This work takes patterns, ciphers, and mathematical structure as a canvas: for example, painting portraits in the digits of π; or hiding an escape room in a series of intricate geometries. Typically, the underlying source code is part of the art itself, embedding puzzle components and clues.
His work has been presented previously by ArtBeesGallery in “HOMAGE Constantin Brâncuși” (2026), as well as by @hash_gallery (“CROSSHASHES”, 2026) and @moments_agency_ Gallery (“Love is in the Art,” 2026).
𝗦𝗼𝗻𝗻𝗲𝘁𝘀 (2026) uses rule-based encoding schemes to transform Shakespeare’s sonnets into mosaic color fields.
In 𝗦𝗼𝗻𝗻𝗲𝘁 𝟳 (“Lo! In the orient when the gracious light / Lifts up his burning head…”), each character becomes a single pixel within a structured grid.
Letters are grouped algorithmically and assigned to chromatic families that echo the poem’s imagery, set against a vertical gradient tracing its central metaphor — the sun’s rise, zenith, and eventual descent into dusk.
Foreground pixels register the distribution of textual elements — letters, capitals, and punctuation, while spaces expose the shifting field of light beneath.
The result is a structural transcription of the text: language becomes color, syntax becomes visual rhythm, and line breaks become temporal thresholds.
Situated within the traditions of generative art and algorithmic poetry, Sonnets (2026) privileges procedure over gesture. The artwork emerges from constraint — much like the sonnet form itself. Through deterministic rules and fixed palettes, the piece reveals the poem’s hidden architecture, translating meter and metaphor into geometry and light.
In this translation, reading becomes viewing, and time becomes a field of color through which language moves.
Part of // TO MINT, OR NOT TO MINT //
Craiova International Shakespeare Festival
williamshakespeare.art 💀🪶
ArtBeesGallery retweeted
𝗟𝗮𝗱𝘆 𝗠𝗮𝗰𝗯𝗲𝘁𝗵 by 𝗠𝗮𝗿𝗰𝘂𝘀 𝗞𝘂𝗽𝗳𝗲𝗿𝘀𝗰𝗵𝗺𝗶𝗱𝘁, also known as @ROBN2KOOL , is a multidisciplinary artist whose work spans a broad spectrum of visual arts and the humanities. Born in Germany, he has lived and worked in Paris since 2014, where he is registered with the Maison des Artistes in the painter category.
His works are held in private collections, and he has received several distinctions, including recognition at the renowned Salon des Artistes Français.
Kupferschmidt exhibits internationally and regularly participates in art fairs, He was also a long-time resident artist at Galerie Monod in Paris, a space led by RGDL, a master’s student and close associate of Ernst Fuchs—the co-founder of Fantastic Realism and a contemporary of Salvador Dalí.
Beyond his artistic practice, Kupferschmidt engages in conceptual work grounded in humanist principles.
Through his initiative, ULISM FUTUREWORKS, he explores and develops cultural frameworks aimed at shaping contemporary social structures.
Central to his thinking is the belief that the imbalance created by fragmented value systems can only be addressed through deeper insight.
He argues that a more nuanced understanding of psychological dynamics is essential for integrating misunderstandings into a broader comprehension of societal function, ultimately fostering greater unity.
ROBN2KOOL holds a diploma in communication and graphic design and has been active in the field of digital art since the late 1990s.
He says, “I think it's wonderful how Craiova is keeping pace with the digital age while fostering cultural development. ”The Artbees Gallery”, in collaboration with the city and cultural leaders, is doing visionary work in this regard.
𝗟𝗮𝗱𝘆 𝗠𝗮𝗰𝗯𝗲𝘁𝗵
She is the epitome of the person who is inwardly exhausted but outwardly still functional.
I am interested in the inner spiritual level where the entry and exit points of perception take shape.
These connections, especially within one’s self-understanding as a whole, are ultimately the pinnacle of the ego’s connection with true feeling.
The illusions in the role-based understanding of identification, which on a spiritual level perhaps only nourish the soul, are often malnourished by emotional armor.
It depends on the balance in the situation, which may resolve itself through “nothing.”
2b or not 2b.
part of // TO MINT, OR NOT TO MINT // x Craiova International Shakespeare Festival
williamshakespeare.art 💀🪶
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"Absurdity of Love" exhibited during Craiova International Shakespeare Festival 🤟🏽🧚🏼🧚🏼
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Meet @dwn2erth :
dwn2erth is a Romanian multidisciplinary designer, with a background in graphic and interaction design.
Her creative background and the crossing from one medium to another comes naturally since her early ages.
Starting with acrylic and oil painting, moving towards photography, architecture then deciding to go on the graphic design path and tapping into new media art. The journey doesn’t stop there.
In her design practice, she works across visual identity, creative direction and digital design, but the enjoyment and inspiration comes from what happens in-between.
Her approach to bringing an idea to life is not always the same. With an interest in different disciplines, she is constantly shifting through a variety of different styles and mediums, bringing a lot of experimentation in her works.
A glue gun drawing might turn into a logo, or a wire sculpture into an album cover, making ‘play’ a detrimental constant in her practice.
dwn2erth considers that, most of us, as grown-ups, forget to play. We sometimes even force ourselves into forgetting how to do it, as we consider it immature or child-like.
She argues that this is what freezes creativity in people.
She considers play as an act of purity, liberating us from the limitations and imaginary boundaries we set upon ourselves, as creativity flows through everyone.
That’s why play is so important.
Inspired by the events happening between the magnificent fairy queen, Titania and Bottom, a simple-minded bumbling weaver, in Shakespeare's "A Midsummer's Night Dream", showcasing the irrationality and absurdity which can only happen when in love.
𝐀𝐛𝐬𝐮𝐫𝐝𝐢𝐭𝐲 𝐨𝐟 𝐋𝐨𝐯𝐞
Inspired by Shakespeare's "A Midsummer's Night Dream”, the artwork depicts the magnificent fairy queen, Titania and Bottom, a simple-minded bumbling weaver, who was cursed with a donkey head.
The choice of characters points to the humorous contrast between them—Titania, ethereal, poetic queen wakes up utterly besotted with Bottom.
She treats him lavishly, speaking to him in verses, while he responds with completely earthbound common sense. This also reads as a comment on love itself and how desire can make anyone irrational, blind, even absurd—characteristics we all confront with throughout life and which triggered the reinterpretation of the characters.
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⬇️ Get to know me🎨
Honored to have my piece “Fractured Mind” selected and featured at Craiova International Shakespeare Festival, hosted by @ArtBeesGallery and curated by @NONE32X32
Grateful for this wonderful experience💐
𝐅𝐫𝐚𝐜𝐭𝐮𝐫𝐞𝐝 𝐌𝐢𝐧𝐝 by @SherryNFT 🎨
part of // TO MINT, OR NOT TO MINT // during Craiova International Shakespeare Festival
Sherry Mahboubian is a painter and visual artist based in the USA.
She holds a Master of Arts degree from California State University, Northridge.
Her work has been exhibited internationally, including at @beeple Studio and in @OBEYGIANT Shepard Fairey’s “Obey & Resist” exhibition, as well as at Digital Art Mile By @artmetaofficial in Basel, @nft_paris , and @NFT_NYC .
It has also been shown in major cities such as New York, Miami, Tokyo, Sydney, Brussels, Tehran, Detroit, Virginia, Laguna Beach
She is interested in human and social situations that raise questions and invite reflection, focuses on the human figure and the way it is seen.
In her paintings, faces and figures are not fixed, they shift, break, and transform.
What appears is not a clear identity, but something in between, something still forming.
The work takes shape during the process, gradually revealing itself through painting.
Forms do not remain stable and can move far from their starting point, opening space for unexpected images and meanings.
In some works, the human figure merges with other elements, taking on altered and at times symbolic forms.
These figures are often placed in situations that suggest relationships, tension, or aspects of the human condition.
In some works, she explores this through the subject of social media, where people present constructed
versions of themselves rather than who they truly are. What is shown is often shaped and controlled,
creating a distance between appearance and reality.
For her, the human face and figure go beyond representation, becoming spaces that carry a range of
emotions, experiences, and psychological states.
Painting is important to her as a physical process. Working with color, line, and gesture allows her to bring
what is in her mind into the work and to experience it through the act of painting itself.
The work unfolds through the act of painting, where each mark opens a new possibility and the image finds
its form.
𝐅𝐫𝐚𝐜𝐭𝐮𝐫𝐞𝐝 𝐌𝐢𝐧𝐝
is a reinterpretation of Macbeth by William Shakespeare, exploring the psychological condition of a mind gradually consumed by ambition.
Rather than focusing on a specific narrative moment,
the work approaches the character through an internal state—one in which the mind turns inward and
begins to confront itself.
In this work, the figure appears fragmented and unstable, reflecting a condition in which identity is no longer
whole, but divided and shifting. Forms break apart, overlap, and dissolve into one another, suggesting a
loss of control and coherence. What is presented is not a clear image or a defined story, but a state of
tension and inner conflict, where the boundaries between thought, memory, and perception begin to blur.
What remains is not the figure itself, but the trace of a mind shaped by its own ambition. The image does
not resolve into a fixed meaning, but holds a psychological space in which consequence and desire become inseparable.
The work unfolds through the act of painting, allowing the image to emerge through
williamshakespeare.art 💀🪶
The Horns of Pan by @Minotaur_Man
Pan Noir 2026
| 48h Open Edition | 0.01 ETH | ERC1155TL |
transient.xyz/mint/the-horns…
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𝐅𝐫𝐚𝐜𝐭𝐮𝐫𝐞𝐝 𝐌𝐢𝐧𝐝 by @SherryNFT 🎨
part of // TO MINT, OR NOT TO MINT // during Craiova International Shakespeare Festival
Sherry Mahboubian is a painter and visual artist based in the USA.
She holds a Master of Arts degree from California State University, Northridge.
Her work has been exhibited internationally, including at @beeple Studio and in @OBEYGIANT Shepard Fairey’s “Obey & Resist” exhibition, as well as at Digital Art Mile By @artmetaofficial in Basel, @nft_paris , and @NFT_NYC .
It has also been shown in major cities such as New York, Miami, Tokyo, Sydney, Brussels, Tehran, Detroit, Virginia, Laguna Beach
She is interested in human and social situations that raise questions and invite reflection, focuses on the human figure and the way it is seen.
In her paintings, faces and figures are not fixed, they shift, break, and transform.
What appears is not a clear identity, but something in between, something still forming.
The work takes shape during the process, gradually revealing itself through painting.
Forms do not remain stable and can move far from their starting point, opening space for unexpected images and meanings.
In some works, the human figure merges with other elements, taking on altered and at times symbolic forms.
These figures are often placed in situations that suggest relationships, tension, or aspects of the human condition.
In some works, she explores this through the subject of social media, where people present constructed
versions of themselves rather than who they truly are. What is shown is often shaped and controlled,
creating a distance between appearance and reality.
For her, the human face and figure go beyond representation, becoming spaces that carry a range of
emotions, experiences, and psychological states.
Painting is important to her as a physical process. Working with color, line, and gesture allows her to bring
what is in her mind into the work and to experience it through the act of painting itself.
The work unfolds through the act of painting, where each mark opens a new possibility and the image finds
its form.
𝐅𝐫𝐚𝐜𝐭𝐮𝐫𝐞𝐝 𝐌𝐢𝐧𝐝
is a reinterpretation of Macbeth by William Shakespeare, exploring the psychological condition of a mind gradually consumed by ambition.
Rather than focusing on a specific narrative moment,
the work approaches the character through an internal state—one in which the mind turns inward and
begins to confront itself.
In this work, the figure appears fragmented and unstable, reflecting a condition in which identity is no longer
whole, but divided and shifting. Forms break apart, overlap, and dissolve into one another, suggesting a
loss of control and coherence. What is presented is not a clear image or a defined story, but a state of
tension and inner conflict, where the boundaries between thought, memory, and perception begin to blur.
What remains is not the figure itself, but the trace of a mind shaped by its own ambition. The image does
not resolve into a fixed meaning, but holds a psychological space in which consequence and desire become inseparable.
The work unfolds through the act of painting, allowing the image to emerge through
williamshakespeare.art 💀🪶
