Nick Fudge / 尼克•福吉

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CURRENT

未能証實 Proof Would End It

Solo exhibition, 2026

CLC Gallery Venture, 798 Art District, Beijing, China. Curated by 周翊 Zhou Yi.

Concepts developed with Dr. Michelle Lewis-King / 概念與王米雪博士共同發展

Sound: Dr. Michelle Lewis-King / 聲音：王米雪博士

Digital sculpture: Dr. Michelle Lewis-King / 數碼雕塑：王米雪博士

RECENT

Art Basel Hong Kong 2026

Presented by CLC Gallery Venture, Beijing — curated by 周翊 Zhou Yi

證明將終結之 / Proof Would End It
Silicon wafer, micro-engraving · 5 + 1AP · 2025

非作品之證書 / Certificate of the Anti-Work
UV print on aluminium · Edition of 10 · 2026

Concepts developed with Dr. Michelle Lewis-King / 概念與王米雪博士共同發展

Two objects, one proposition. A painting micro-engraved onto a polished silicon wafer — present as a physical object, yet permanently beyond the unaided eye — is presented alongside its only fully visible form: the 非作品之證書 Certificate of the Anti-Work, an imaginary document issued without conventional authority.

The certificate declares the engraving's existence while warning that to prove it would be to end the work. The closer one looks, the more the image confirms its own withholding. Together, the two objects form a single, indivisible piece — one invisible, one entirely readable.

The work belongs to a tradition of ‘pataphysics — the science of imaginary solutions — applied here to an impossible question: how to make a painting that is completely real yet permanently out of reach.

CLC Gallery Venture / 北京 Beijing · Curator: 周翊 Zhou Yi · Art Basel Hong Kong, March 2026

Alchemic Flow 2026

Presented by Seditiion Art and Nuse Frame, Beijing — curated by 周翊 Zhou Yi

February 2026 / The Social Hub, Rome, Italy.

A selection of Nick Fudge’s video animations—featured by Sedition Art and Muse Frame—were preseted at Alchemic Flow 2026 a video and performing arts festival dedicated to immersive and experimental video.

Nick Fudge joins United Media Artists (UMA).

Practitioners of Art within an Evolving Technological Landscape

UMA is a global collective of singular artists working at the intersection of analogue legacy and digital innovation.

Website

Panelists Mat Collishaw, Nick Fudge, Terry Flaxton and Sedition CEO Dyl Blaquiere

Mat Collishaw, Nick Fudge and Dyl Blaquiere

Sedition Soirée

October 8–16, 2025 / Art'Otel, 1-3 Rivington St, Hoxton, London, EC2A 3DT.

Private Viewing on 15 October

https://artotel.com/en/hotels/london/hoxton/event/the-sedition-soiree/

The Sedition Soirée presents a curated showcase of groundbreaking digital works by Mat Collishaw, Nick Fudge, and Terry Flaxton. Each artist, with their distinct histories and practices, demonstrates how digital technologies are reshaping the possibilities of artistic expression while extending the radical experimentation that has defined contemporary British art since the 1990s.

Join us on 15th October for the opening night, an intimate gathering of artists, collectors, and visionaries shaping the future of digital art. Hosted in London, this exclusive evening marks the relaunch of Sedition and its new chapter with Muse. Expect curated previews, immersive displays, and meaningful conversations as we celebrate a new era in art and collecting.

The evening also revisits the spirit of the Young British Artists (YBAs), whose fearless innovation reshaped global perceptions of art. Their legacy reverberates in this showcase: the embrace of new mediums, the redefinition of aesthetics, and the willingness to confront urgent cultural and political questions head-on. Some of these trailblazers will join the event as guest speakers, deepening the dialogue between past provocations and future frontiers.

The Artists

Mat Collishaw: A founding member of the YBA movement, Collishaw has consistently harnessed technology to create haunting works that probe morality, mortality, and illusion.

Nick Fudge: Also part of the YBA movement, an artist and theorist, Fudge explores the tensions between painting, digital reproduction, and the aesthetics of error, revealing new ways of seeing through the digital lens.

Terry Flaxton: A pioneer of moving image art, Flaxton’s work interrogates memory, time, and technology, extending video art into immersive digital realms.

Together, these artists illustrate the breadth and vitality of digital practice today, bridging the pioneering energy of the YBA era with the rapidly evolving landscape of AI, immersive environments, and screen-based art

Cubist Guitars in Digital Color Space

Sedition—Saatchi Gallery—Digitalism Art Fair, London

Launch: September 25, 2025.

Cubist Guitars in Digital Color Space revisits Nick Fudge’s early digital works through the lens of contemporary Gen-AI, creating recursive feedback loops between past and future—where each cycle of reanimation generates unexpected, new outcomes.

Originally based on a 2010s animation featuring nine stylised cubist guitars, the series draws on multiple layers of reference: Picasso’s early modernist guitar constructions, Jasper Johns’s 1960s investigations into the syntax of painting, Warhol’s Pop embrace of mechanical reproduction, and Fudge’s own long-standing engagement with the materiality of digital tools.

Rather than simple updates, these new works operate as re-performances of a digital medium in flux—where AI serves not just as a generator, but as a means of probing how images, styles, and software histories repeat, distort, and evolve across time...

In late 2024, Nick Fudge’s concealed, site-specific work PataPaint (Desert Version) was installed in a remote region of the Gobi desert, China.

Curated and organised by Zhou Yi 周翊.

Installed beyond any probable audience, PataPaint (Desert Version) takes the form of a solar-powered, self-illuminating sign. One face presents PataPaint against a schematic desert landscape; the reverse carries an anti-advertisement composed of icons and Chinese text. Both sides reproduce the visual languages of technological instruction and commercial address while withdrawing them from the social and economic conditions in which they would ordinarily operate.

The work is neither simply hidden nor conventionally public. Its concealment is structural: it occupies the form of publicity while refusing publicity’s necessary recipient. Powered by the environment in which it has been placed, the sign continues to illuminate and communicate irrespective of whether it is seen. Its operation therefore precedes, and may permanently outlast, the encounter through which an artwork is normally confirmed.

In the desert, PataPaint is detached from the screen and returned as infrastructure. The sign converts unlimited space into an absent display and solar energy into an expenditure without audience. What appears to advertise PataPaint simultaneously annuls the transactional logic of advertising. It signals, but offers nothing; addresses everyone, but reaches no one; remains operational without becoming useful.

The work does not romanticize technological disappearance. It materializes a more exact contradiction: a communications system functioning perfectly at the point where communication ceases to be verifiable.

We invite no one.

半手动时代 Semi-Manual Era

尼克•福吉 Nick Fudge will be exhibiting his work in the upcoming group exhibition, 半手动时代 Semi-Manual Era, at the 闽吴术作 Gravity Art Museum in Beijing, China.

June 29 to September 23, 2024.

It is divided into five sections, each with a different curator: Duan Shaofeng, Feng Xi, Li Jia, Zhou Yi, and Dong Jing, and Miao Zijin.

福吉 Fudge is collaborating with 周翊 Zhou Yi, the curator of the 插电 Unplugged In section.

插电 Unplugged In artists: Chen Ke, Nick Fudge, Gao Ludi, Lao Jiahui, Shang Liang, Song Yonghong, Unmask (Liu Zhan), Wang Yiwei, Yancong, and Zhang Yudong.

Apollo's Decathlon

Nick Fudge's painting PICASSO CO. exhibited in the Apollo's Decathlon exhibition at the Château de Montsoreau Museum of Contemporary Art in Montsoreau, France.

Curated by Lara Pan in collaboration with the museum.

June 1–September 30, 2024.

Reframing Modernism in the Digital Age

Nick Fudge interviewed by Vladislav Alimpiev for Sedition Art.

Reframing Modernism in the Digital Age

Published May 3, 2024.

White Hot Magazine — Future Paint Review by Lara Pan

Vladislav Alimpiev interviews Nick Fudge for Sedition Art.

Future Paint: Nick Fudge's Emergence from the Underground

May 1, 2024.

Picasso Pizazz on Sedition — Collection launched , May 08, 2024.

Picasso Pizazz: Five Still-Image Works & One Moving Image Work by Nick Fudge

In Nick Fudge's Picasso Pizazz collection, the contexts of modernism and postmodernism are introduced through the genre of portraiture, weaving them into our current metamodern discourse on the art of the past in relation to a seemingly technologically determined future. This approach serves to recontextualize the impact of machines on modernist art and values. The collection focuses on two of the most influential artists of the twentieth century, Picasso and Duchamp, who had distinctly different attitudes and approaches to the concept and practice of art and machines and machine aesthetics.

Future Paint

Future Paint at Kelly-McKenna Gallery in Spring Lake, New Jersey.

Curated by Nick Fudge

Nick Fudge | Charley Peters | Komply

Apr 11–Jun 2, 2024

Destruction of Appearance on Sedition — Collection launched , November 15, 2023.

Destruction of Appearance: Five Still-Image Works by Nick Fudge

Destruction of Appearance brings together five works drawn from two related series—Drive and Apparitional Appearance—which Nick Fudge began in 1994, at the moment when he adopted the computer as the principal material and operational condition of his practice.

The Drive series developed during Fudge’s extensive journeys across the United States in the 1990s, when his artworks travelled with him as files stored on external drives. The title names several simultaneous forms of movement: the physical passage through the American landscape, the technological apparatus carrying the work, and the computational drive through which the image could be stored, revised and reproduced.

Rather than treating photography, painting and graphic software as separate media, the works bring their distinct historical codes into unstable coexistence. Black-and-white photography appears neither as documentary evidence nor as an originating image, but as one reproductive layer among others, subject to alteration, repetition and displacement within the digital file. Painterly space survives as a convention; photographic space as an effect; software as the concealed structure through which both are reorganised.

Represented here by Mount Olympia and Reality Drive, the series situates the landscape between geographical encounter and electronic storage. America becomes at once a travelled territory and an image already mediated: compressed, transported and perpetually available for revision.

Across Destruction of Appearance, the digital image is understood not as an immaterial surface but as a mutable object without a stable original. Appearance is not destroyed by disappearance. It is destroyed by becoming endlessly reproducible, and therefore incapable of arriving at a final form.