Cursed, Floored, & Rejected: A Landscape Experiment examines rebirth not as renewal, but as a consequence of an ending that leaves no return. Rebirth, in this framework, is inseparable from loss.

The project is informed by a period of personal collapse marked by illness, the dissolution of a relationship, and the loss of stability, community, and home. That period functioned as a clear dividing line. Not a pause, but a termination. The individual who entered it did not emerge intact. What followed was not recovery in a conventional sense, but a slow reconstruction over time through grief, reflection, and the deliberate examination of identity.

During this process, time spent in isolated and abandoned landscapes became essential. These environments, quiet and stripped of activity, mirrored an internal state of disassembly. The photographs that form the foundation of this collection were captured in those spaces. They are not documentary records, but emotional equivalents, places where silence, scale, and emptiness carry narrative weight.

The concept of rebirth extends beyond the imagery itself into the structure of the work on the blockchain. The collection deliberately begins with failure. Each piece is inscribed onto satoshis previously occupied by cursed ordinals, assets that had been rejected, devalued, and relegated to the lowest tiers of visibility and desirability. These satoshis were chosen precisely because they had already been broken within the system.

The photographic source material underwent a parallel process. Each image was subjected to a generative adversarial network, a machine learning model in which competing neural networks generate and evaluate data in opposition. This process introduced a controlled fracture, pulling the image simultaneously toward what it was and what it might become. When the outputs proved too resolved and too refined, the images were intentionally degraded further through digital intervention. Composition was reduced. Detail was stripped away. The work was forced toward simplicity, approaching a near empty visual state that reflects the conditions of starting again from nothing.

What remains is not a restoration of value, but a reassignment of it. This project takes artifacts deemed worthless by the blockchain and repositions them through intention, process, and narrative. The result is a collection that treats rebirth as an act of redefinition rather than recovery.

The works are presented on chain as a parent child lineage, forming a visible genealogy of transformation under the title Cursed, Floored, & Rejected: A Landscape Experiment.