Where art and technology intertwine to redefine expression. Transformative digital artworks crafted through a unique algorithm, created by artist. Explore this groundbreaking collection where pixels paint a new narrative of innovation.”

At its core, “Digitalism” is characterized by the use of digital tools and processes to create art. Whether through algorithmic generation or manipulation of existing media, artists like Banford push the boundaries of creativity, blurring the lines between traditional and digital art forms. While the term “digital art” encompasses a diverse range of practices, it typically involves the use of computer processors or electronic systems to interpret input and generate conceptual output.

Banford’s contribution to the realm of digital art is exemplified in his “Digitalism” series, where he employs a unique algorithm developed by the artist himself. This algorithm decodes characters or number combinations into intricate 20 million-pixel color sequences, which are then depicted on a rectangular or square format. Each artwork in the series is singular and irreplicable, as it can only be recalled by inputting the same original combination.

Through his “Digitalism” series, Banford invites viewers to contemplate the intersection of art and technology in the modern world. By embracing digital processes, he challenges conventional notions of artistic creation and invites us to rethink our understanding of originality and authorship. In a digital landscape where information is endlessly reproducible, Banford’s insistence on the uniqueness of each artwork underscores the value of individual expression in an increasingly digitized society.

Ultimately, Allan Banford’s “Digitalism” series serves as a testament to the transformative power of technology in shaping the future of art. As digital tools continue to evolve, artists like Banford push the boundaries of what is possible, creating works that challenge and inspire in equal measure. In doing so, they invite us to reconsider our relationship with technology and to embrace the limitless possibilities of digital creativity.

The Zentai

NFT collection also available as a limited edition physical prints, the Zentai collection releases stereotypes limitations, under a real-life, the Zentai suit covers the full body and head; where age, gender, race and appearance are neutralized as non-identical individualistic expressions.

The Zentai collection portrays unity by singularity for all the passengers of our physical spaceship called earth. An immersive showcase of NFTs and digital artworks that explore the concept of identity and transformation through a chameleonic homage to the ever-evolving self. In this groundbreaking exhibition, Allan Banford invites you to explore the intricacies of identity in the digital age, where boundaries blur and identities shift like the colors of a chameleon’s skin.

Through the collection of NFTs and digital works, Banford delves deep into the essence of self-expression, inviting viewers to question the fluidity of identity in an increasingly interconnected space, you’ll encounter a diverse array of collectibles that capture the essence of miss identity—moments of ambiguity, transformation, and self-discovery.

But amidst the ever-changing landscape of digital art, there is a sense of continuity in Banford’s homage to the chameleon. Like the iconic reptile, the artworks in the Artiverse Zentai Exhibition adapt and evolve, reflecting the complexity and diversity of human experience. At the heart of the exhibition lies a celebration of individuality and self-expression.

Through his masterful use of digital technology and visual storytelling, Banford invites viewers to embrace their own chameleonic nature—to explore the myriad facets of their identity and revel in the beauty of self-discovery. But the Artiverse Zentai Exhibition is more than just a collection of artworks—it’s a journey of exploration and introspection, a testament to the transformative power of art in shaping our understanding of ourselves and the world around us.


Enter the innovative realm of Allan Banford’s “Digitalisation” series, where art meets technology in a captivating exploration of emotion, time, energy, and existential contemplation.

Allan Banford’s “Digitalisations” series represents a captivating fusion of digital artistry and the visionary works of iconic artists from various movements. Drawing inspiration from masters such as Mark Rothko, On Kawara, Jackson Pollock, and Andy Warhol, as well as delving into abstract concepts like the interpretation of the word “Nowhere,” Banford embarks on a transformative exploration of emotion, time, energy, movement, repetition, and existential contemplation.

In his digital interpretations of Mark Rothko’s emotive canvases, Banford captures the essence of emotional depth and introspection, using digital media to evoke the profound sentiments expressed in Rothko’s iconic color field paintings. Through subtle shifts in hue and tone, Banford creates immersive digital experiences that resonate with the viewer on a visceral level.

Inspired by On Kawara’s conceptual exploration of time, Banford delves into the temporal dimension, using digital tools to dissect and reassemble the fabric of time itself. Through algorithmic manipulations and visual representations, Banford invites viewers to contemplate the fleeting nature of existence and the passage of time in all its complexity.

Channeling Jackson Pollock’s dynamic energy and movement, Banford’s digital compositions pulse with vitality and vigor, capturing the frenetic energy and spontaneous expressionism that defined Pollock’s iconic drip paintings.

Through fluid lines and dynamic forms, Banford harnesses the power of digital media to evoke a sense of motion and dynamism that transcends the confines of traditional artistic mediums.

Exploring Andy Warhol’s concept of repetition and mass production, Banford delves into the digital realm of replication and variation, creating digital artworks that echo Warhol’s iconic silkscreen prints. Through digital manipulation and algorithmic iteration, Banford explores the interplay between individuality and uniformity, inviting viewers to reconsider the nature of artistic creation and reproduction in the digital age.

Finally, Banford delves into the enigmatic concept of “Nowhere,” extracting its 77 meanings and portraying them against the backdrop of Mars, a fitting metaphor for the vastness of existential inquiry. Through his digital interpretations, Banford navigates the nebulous realms of existential contemplation, inviting viewers to ponder the myriad interpretations and implications of the word “Nowhere.”

As Banford’s “Digitalisation” series continues to evolve, viewers can expect further explorations into the intersections of art, technology, and existential inquiry. With each new iteration, Banford pushes the boundaries of digital artistry, offering fresh perspectives on timeless themes and concepts that resonate with audiences across space and time.

Digital Expressionism


Expression: Early 15c., expressioun, “action of pressing out;” later “action of manifesting a feeling;” “a putting into words” (mid-15c.); from Late Latin expressionem (nominative expressio) “expression, vividness,” in classical Latin “a pressing out, a projection,” noun of action from past-participle stem of exprimere “represent, describe,” literally “press out” (see express (v.)). Meaning “an action or creation that expresses feelings” is from 1620s. Of the face, from 1774. Occasionally the word also was used literally, for “the action of squeezing out.”

Allan Banford’s “Expressionism” series stands as a testament to the enduring influence of the iconic artist Mark Rothko. Rothko, born Markus Yakovlevich Rothkowitz, defied categorization within the art world, yet his contributions to abstract expressionism remain unparalleled. Banford’s series pays homage to Rothko’s legacy, capturing the essence of his work through a unique blend of tradition and innovation. By developing an algorithm based on machine learning, Banford has unlocked a new dimension in artistic creation, drawing inspiration from over 200 scans of Rothko’s paintings.

Through meticulous analysis and computational modeling, Banford’s algorithm emulates the uniformity, color composition, and serene ambiance characteristic of Rothko’s masterpieces. Each artwork generated by this system is a testament to Rothko’s enduring influence, yet it bears the distinct imprint of Banford’s own artistic vision. By leveraging technology to reinterpret Rothko’s style, Banford continues the conversation surrounding abstract expressionism in the digital age, inviting viewers to contemplate the intersection of art and technology.

The resulting compositions in Banford’s “Expressionism” series evoke the same sense of emotional depth and contemplation that Rothko’s original works are renowned for. With their expansive fields of color and subtle gradations, these pieces envelop viewers in a meditative experience, inviting introspection and reflection. Banford’s algorithmic approach not only honors Rothko’s aesthetic principles but also pushes the boundaries of artistic experimentation, demonstrating the potential of technology to expand the horizons of creativity.

Through his exploration of machine-generated art, Banford raises questions about authorship, originality, and the nature of creativity in the digital era. As viewers engage with Banford’s “Expressionism” series, they are invited to consider the broader implications of art and technology. By employing machine learning to reinterpret Rothko’s iconic style, Banford prompts us to reflect on the evolving relationship between human creativity and computational intelligence. In doing so, he challenges traditional notions of artistic production and invites us to embrace new possibilities for expression in the 21st century.

Ultimately, Allan Banford’s “Expressionism” series serves as a bridge between past and present, tradition and innovation. By paying homage to the legacy of Mark Rothko while pushing the boundaries of artistic experimentation, Banford offers a glimpse into the transformative power of technology to shape the future of art. Through his visionary approach, Banford invites us to reconsider our understanding of artistic practice and to embrace the ever-expanding realm of possibilities that lie ahead.


Conceptualism: 1837, “doctrine that the meaning of a class-name can be fully represented in thought or actually present in consciousness” (opposed to, or a compromise between, realism and nominalism), from conceptual + -ism. Related: Conceptualist (1785); conceptualistic.

Allan Banford’s “Conceptualism” series draws inspiration from the renowned Japanese artist On Kawara, known for his pioneering conceptual art. Kawara, who resided in New York City from 1965 onwards, gained international recognition through solo and group exhibitions, including the prestigious Venice Biennale in 1976.

Central to Kawara’s artistic practice are his “Date paintings,” part of his “Today series,” initiated on January 4, 1966. These paintings feature the date of execution rendered in simple white lettering against a solid background, documenting the date in the language and grammatical conventions of the country where it was created.

Executed meticulously in Liquitex on canvas, Kawara’s paintings adhere to eight standard sizes, typically horizontal in orientation. Notable exceptions include three larger paintings completed on July 16, 20, and 21, 1969, coinciding with the historic moon landing. Kawara’s paintings are characterized by the precision of hand-painted dates, meticulously centered on the canvas against backgrounds of varying colors.

The artist employed meticulous techniques, meticulously applying four coats of paint and eschewing stencils in favor of hand-drawn characters.

Kawara’s commitment to his practice extended to the destruction of incomplete works if not finished on the day of initiation. Unexhibited Date Paintings are housed in custom-made cardboard boxes, lined with clippings from local newspapers.

Each Date Painting is meticulously registered and documented in journals, with a corresponding entry in a One Hundred Years Calendar. Kawara’s dedication to his project resulted in nearly 3,000 Date paintings executed across 112 cities worldwide, a testament to his artistic vision and commitment.

The legacy of On Kawara continues through Banford’s digital installation, which features each date from Kawara’s death on July 10, 2014, updated daily. Through this ongoing project, Banford pays homage to Kawara’s enduring influence and commitment to conceptual artistry, ensuring that his legacy lives on in the digital age.

Energy and Motion

Energy: 1590s, “force of expression,” from French énergie (16c.), from Late Latin energia, from Greek energeia “activity, action, operation.”

Motion: Late 14c., mocioun, “process of moving; change of place, continuous variation of position;” from Old French mocion “movement, motion; change, alteration” and directly from Latin motionem (nominative motio).

Allan Banford’s “Energy and Motion” series is a tribute to the legendary American painter Jackson Pollock, whose groundbreaking contributions to the world of art continue to inspire and captivate audiences worldwide. Pollock’s untimely death on August 11, 1956, marked the end of a prolific and influential career that forever changed the landscape of contemporary art. At just 44 years old, Pollock had already achieved widespread recognition for his innovative techniques and bold experimentation.

Central to Pollock’s artistic legacy is his revolutionary poured or “drip” technique, which he developed in the late 1940s. This unconventional approach involved splashing liquid household paint onto large horizontal canvases, enabling Pollock to view and paint his compositions from all angles. The result was a dynamic interplay of energy and motion captured on canvas, with each painting embodying a sense of spontaneity and raw emotion.

Banford’s “Energy and Motion” series seeks to capture the essence of Pollock’s iconic style through a digital lens. Drawing on his expertise in algorithmic artistry, Banford has developed a sophisticated algorithm that mimics Pollock’s movements and timing. This algorithm generates continuous artworks that echo the fluidity and vitality of Pollock’s original compositions, offering viewers a mesmerizing visual experience that transcends traditional boundaries.

The inspiration for Banford’s series stems from Pollock’s seminal work, “Number 5,” a masterpiece that epitomizes the artist’s dynamic and expressive aesthetic. By emulating Pollock’s process and technique, Banford’s algorithm creates compositions that evoke the same sense of energy and motion captured in “Number 5.” Each artwork in the series serves as a homage to Pollock’s enduring legacy and a celebration of his pioneering spirit.

At the core of Banford’s “Energy and Motion” series is a deep reverence for Pollock’s artistic vision and creative genius. Through meticulous attention to detail and a keen understanding of Pollock’s techniques, Banford breathes new life into the spirit of Abstract Expressionism, inviting viewers to rediscover the power and beauty of Pollock’s iconic style in a digital context.

By translating Pollock’s fluid gestures into the digital realm, Banford offers a fresh perspective on the intersection of art, technology, and motion. Each artwork in the series becomes a testament to the enduring influence of Pollock’s revolutionary approach and a testament to the timeless allure of Abstract Expressionism. Through his “Energy and Motion” series, Banford ensures that Pollock’s legacy continues to resonate with audiences for generations to come, bridging the gap between past and present, tradition and innovation.


Vector: (n.) “quantity having magnitude and direction,” 1846; earlier “line joining a fixed point and a variable point,” 1704, from Latin vector “one who carries or conveys, carrier” (also “one who rides”), agent noun from past participle stem of vehere “carry, convey” (from PIE root *wegh- “to go, move, transport in a vehicle”). Related: Vectorial.

Allan Banford’s “Vectorium” series delves into the realm of vector graphics, showcasing objects defined by both magnitude and direction through directed lines. Unlike traditional pixel-based images, vector graphics are constructed from mathematical equations, comprising points, lines, and curves. This mathematical foundation ensures that regardless of the scale or proximity of observation, the lines, curves, and points within the artwork retain their fluidity and precision.

In “Vectorium,” Banford explores the dynamic nature of vector graphics, where every element is subject to perpetual change. Each artwork within the series is a unique composition, never to be replicated, as the mathematical equations governing their creation ensure an endless array of possibilities. As viewers engage with these artworks, they are invited to witness the fluid interplay of lines and shapes, perpetually evolving with each moment. “Vectorium” series represents a departure from traditional pixel-based art forms, offering a glimpse into a world where mathematical precision meets artistic expression.


Nowhere: (adv.) “not in any situation or state; in no place,” Old English nahwær “nowhere, not at all;” see no + where. Colloquial nowheres, with adverbial genitive, is by 1803. As a noun, “non-existent place,” 1831; “remote or inaccessible place,” 1908. Hence road to nowhere (1916); middle of nowhere (1891). Similar constructions were attempted with nowhat (“not at all,” 1650s) and nowhen (“at no time, never,” 1764), but they failed to take hold and remain nonce words. Middle English also had an adverb never-where (early 14c.).

Allan Banford’s “Nowhere” series embarks on a profound journey into the intricate depths of interpretation, using a single word as a catalyst for boundless exploration. At the heart of this series lies the word “Nowhere,” a seemingly simple term that serves as a springboard for a multitude of meanings, nuances, and contemplations. Banford meticulously crafts narratives, each comprising up to 77 words, carefully placed against the backdrop of Valles Marineris, the largest canyon in the Solar System.

Valles Marineris stands as a monumental geological wonder on the surface of Mars, a sprawling testament to the planet’s tumultuous past and awe-inspiring geological forces. Spanning an astonishing length of over 3,000 kilometers, this grand canyon slices a wide swath across the Martian landscape, its rugged terrain carved by eons of erosion and geological upheaval. Stretching up to 600 kilometers in width and plunging to depths of up to 8 kilometers, Valles Marineris presents a dramatic and captivating canvas for Banford’s exploration of the concept of “Nowhere.”

Within the vast expanse of Valles Marineris, Banford’s words take on a life of their own, weaving intricate tapestries of thought and emotion against the backdrop of Martian majesty. Each narrative, meticulously composed and placed, offers a unique perspective on the notion of “Nowhere,” inviting viewers to embark on a journey of introspection and discovery.

From the barren Martian landscape to the depths of the human psyche, Banford’s words resonate with profound meaning, challenging preconceptions and igniting contemplation.

As viewers immerse themselves in the “Nowhere” series, they are drawn into a world of unparalleled detail and complexity, where every word, every sentence, and every thought is carefully considered and crafted. Banford’s exploration of the concept of “Nowhere” transcends the physical boundaries of space and time, delving into the realms of imagination, memory, and existential inquiry. Against the backdrop of Valles Marineris, viewers are invited to ponder the infinite possibilities contained within the void of “Nowhere,” contemplating the nature of existence, perception, and the human condition.

In this super-detailed exploration, Banford’s “Nowhere” series becomes a microcosm of the vast and enigmatic universe, where words become vessels for profound reflection and insight. From the barren Martian landscape to the depths of the human soul, Banford’s words traverse the boundless expanse of thought and imagination, illuminating the infinite intricacies of the concept of “Nowhere” in all its richness and complexity.


  • Loosen Art ∙ Rome ∙ Italy.
  • Murze Magazine ∙ Germany.
  • Barcu ∙ X-Espacio ∙ Colombia.
  • Art San Diego ∙ X-Espacio ∙ United States.
  • Ta Kung Pao ∙ Hong Kong.
  • Troxler ∙ OKUA ∙ Tokyo ∙ Osaka ∙ Japan.
  • Asia Contemporary Art Show ∙ Hong Kong.
  • Radian ∙ Lot88 ∙ Hong Kong.
  • Longines Masters ∙ M&S ∙ Hong Kong.
  • Paul Cezanne’s – J. M. W. Turner – John Constable ∙ M&S ∙ Hong Kong.
  • Matter of time Exhibition ∙ M&S ∙ Hong Kong.
  • Nerve Royal Mail stamp ∙ We gallery ∙ China.
  • British contemporary Artist ∙ M&S ∙ Hong Kong.
  • King of Second Chances Closing Event ∙ Library ∙ London.
  • King of Second Chances∙ Library ∙ London.
  • The Prophet and his Court ∙ SkyArts ∙ London.
  • Rhetorical Series ∙ Art Award louvre emerging artist ∙ Paris.
  • Circus ∙ Artsland ∙ New York.
  • A Series ∙ Supreme Gallery.
  • The Prophet and his Court ∙ Milroys ∙ London.
  • Canonromo ∙ Video Art Award White Box ∙ Paris.
  • A moment with Klimt ∙ Glasscade Gallery ∙ Stockholm.
  • A Series ∙ Glasscade Gallery ∙ Stockholm.
  • ArtSlant Prize Showcase Winner in the painting Category ∙ New York. 2016 EGO.
  • Rhetorical Series ∙ The Vault ∙ London.
  • Elizabeth ∙ Spring Saloon Exhibition ∙ London.
  • Rhetorical Series ∙ Holland Park Av ∙ London.
  • Light Burner and Monkeys ∙ We are sweet art ∙ London.
  • Mona Flat ∙ Degree Art ∙ London.
  • Velvenoir ∙ Virtual Dimensional Luxury ∙ Austria.
  • Mona Blue ∙ 1st Place Absolut Art Exchange UK ∙ London.
  • World Citizen Artists Award ∙ Belgravia Gallery ∙ London.
  • Mona Flat ∙ Solo Exhibition at the Mansion ∙ London. Mona Flat ∙ Solo. Exhibition at the Mansion ∙ London.
  • Today series continued ∙ Est JUL.10,2014 ∙ Global.
  • EXHIBBIT ∙ Solo Virtual Exhibition ∙ Global.
  • Summer Exhibition ∙ Castle Fine Art Gallery ∙ London.

Group Exhibitions

  • Fabric Virtual Exhibition ∙ Artgence ∙ Paris ∙ France.
  • Design Shanghai ∙ China.
  • Barcu ∙ X-Espacio ∙ Colombia.
  • The Essential ∙ Loosen Art ∙ Rome ∙ Italy.
  • Art San Diego ∙ X-Espacio ∙ United States.
  • Asia Contemporary ∙ Hong Kong.
  • British contemporary Artist ∙ M&S ∙ Hong Kong.
  • Elizabeth ∙ Spring Saloon Exhibition ∙ London.
  • Velvenoir ∙ Virtual Dimensional Luxury ∙ Austria.
  • Perspective Scenarios ∙ Halcyon Gallery ∙ London.


  • Artnet ∙ Allan Banford ∙ UK ∙ US ∙ Germany.
  • Barnebys ∙ Allan Banford ∙ Stockholm ∙ Sweden.
  • Winter Contemporary Art 2020 ∙ TimaxArt TimaxGlobal Ltd ∙ New York ∙ US.
  • Retrospective and Calligraphy series ∙ live auctioneers ∙ New York ∙ US.
  • Retrospective and Calligraphy series ∙ TimaxGlobal Ltd ∙ London ∙ UK.
  • Retrospective and Calligraphy series ∙ Invaluable ∙ United Kingdom, France, Belgium, Germany & Australia.
  • Love ∙ Chuo Tokyo ∙ Hong Kong.
  • Retrospective One ∙ Sotheby’s ∙ London ∙ UK.


  • Art Award louvre emerging artist ∙ Paris.
  • Canonromo ∙ Video Art Award White Box ∙ Paris.
  • EGO ∙ ArtSlant Showcase Winner Award ∙ New York.
  • Mona Blue ∙ 1st Place Absolut Art Exchange UK.
  • World Citizen Artists Award ∙ Belgravia Gallery.

AB Signature