Index

Marfa

I am showing twice in Marfa, Texas, during Art Blocks Marfa Weekend 2026, a block apart on W Dallas St. I have come to Marfa Weekend since 2024. This is my first time showing there.

Plastic Cactus is a group exhibition of independent artists in the New Star Grocery Art Museum. Desert Proving Ground is one of three exhibitions curated by Steven Miller for the weekend, presented by The Temple; the Saturday showcase is Woman, Goppie and me.

Dozens of plastic figures of the exhibiting artists gathered in scrub desert outside the New Star Grocery Art Museum, under a green cactus hung with a hand-painted Plastic Cactus sign.
The show’s group image, by Plastic Cactus. I am the figure in the suit, near the middle.

On the wall at Plastic Cactus

One screen runs essentialism live: the same generator that is stored in the Tezos contract, drawing a new seed every half minute. A second screen runs hollerith, where anyone who meets me there mints their punch card.

essentialism

A generative system stored fully on-chain on Tezos: a photograph of mine, Blue Tree, drawn over and over by a generator that is slowly forgetting it. Released in 2026; the edition is 44, and 10 are minted.

Fifteen seconds of essentialism, from the piece’s page.

imprint, at Desert Proving Ground

On Saturday night I am showing a preview of imprint, the system I am building now. It is a code-based reconstruction of a physical print process: a flatbed press that stacks ink into raised relief, rebuilt in software and then allowed to wear. Each piece is one pull from a run of 100. The image never changes from pull to pull; the press does. Coming early 2027.

imprint n3382: a burst of red, blue and bone strands on a dark canvas imprint n1151: rosettes of green, pink and orange strands on an ebonized wood panel imprint n2378: pink and orange paper-clip loops with green bars on an ash canvas
One piece, imprint n3186, at every pull of its run: pull 1 through pull 100, six tenths of a second each. The picture never changes. The press does: the registration drifts, the ink starves along the edges, and by the last pulls the plates have cracked and a tideline has crept in. Each pull is its own render, not a transition.

hollerith

If we meet in Marfa this week, you get a punch card: an IBM 029 card with I MET THEBENMEADOWS in Hollerith code and a hole in the hour we met, plus one for every meeting before yours. It is drawn on-chain, built on ABX, and minted free on Ethereum from a wallet or just an email.

hollerith in 24 seconds. Claim yours at hollerith.bemeadows.workers.dev.

Bio

I started with film cameras and moved to digital in the late 90s. I have been manipulating images digitally for almost thirty years, and I sold my first photographs in 2016. Most of what I shoot is Arizona, a lot of it from rooftops.

I have been experimenting with blockchain since 2011 and minted my first piece in 2022. I like being early to technology, and the work has spread out with it: photography, AI-assisted pieces, glitch and abstract work, and fully on-chain pieces on Ethereum, Bitcoin and Tezos. In 2023, I worked out a way to store and view compressed vector art as Bitcoin inscriptions. In 2026, I released essentialism, a generative system stored fully on-chain on Tezos. I'm currently working on imprint, my most ambitious generative system yet. Some of my work has left the screen, as Bitcoin-backed prints with Gamma and in shows in Barcelona, Paris, Ghent, Bologna, Lisbon, Bali, Las Vegas, and more. I also curated ABC Art World on Foundation, and I collect: thousands of pieces across ETH, BTC, SOL and Tezos.

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