“I am excited for what comes next”

This Giddy Future

Art studio pseudonym, social media artist handle, art exhibit title…; the THIS GIDDY FUTURE creative identity is a focused production “brand” of digitally-organic abstractions that thrive within intangible spaces.

THIS GIDDY FUTURE debuted in 2018 in Austin Texas and on Facebook owned Instagram releasing focused, serialized explorations of technique & genre. In 2020 the studio has begun branching out into more experimental frontiers and has embraced art publication on blockchains.

Strong influences from Collage Art, Glitch Art, Motion Art, and Trash Art, THIS GIDDY FUTURE typically presents in formats that support the following playback standards: 16:9, 60fps, 72-300dpi, 1920×1080 & 4K, sRGB.


(October 2020)

OUROBOROS is a cinematic loop in loving blacks and dark greys exploring visual metaphors of infinity. Meditative and full of tension, this high quality animated art aesthetic plays back in beautiful 1920×1080.

Premiering at Known Origin on the Ethereum Blockchain.

motion art


(August 2020)

With the right ears, you can still hear the waves.

With the right eyes, you can still see the sunset.

With the right moment, you can stay forever.

An exclusive tokenized series of art statements in glitch abstraction.

Leisurely presenting at Known Origin on the Ethereum Blockchain.

post-glitch art


(August 2020)

Five statements exploring intangible moments of creation between operator and tool.

We have long been told the finite limits of ones and zeros create a permanent barrier – an ethereal membrane between us and emotion born of digital experiences.

CPUs and Pixels are tools. The inspirations, the efforts, the decisions, and the outputs are all distinctly human.

An exclusive tokenized art series of statements in glitch abstraction.

Now on sale at NFT Showroom on the Hive Blockchain.

glitch art

Digital Art SERIES IV

(December 2019 – March 2020)

A vibrant effort in a more focused square canvas shape. From procedurally generated backgrounds to lovingly created gradients.

Series 4 was about challenging boundaries and breaking free of constraint.

However, all that was placed on indefinite hiatus when the world ended March 2020.

vector art

Digital Art SERIES III

(October 2019 – December 2019)

Series 3 takes us from video post-processing art to vector pattern manipulation art.

A new exploration in using color gradients and abstract mesh expressions to cultivate tension and significance.

The colors and shapes lead the eye and the framing amplifies the drama of these procedural doodles.

Done in a batch process these images all became individual frames in the abstract screen saver art installation.

PATTERN KIOSK and exhibited at SIGNAL 002, 2019.


Digital Art SERIES II

(March 2019 – September 2019)

Television and the Public Interest is a significant speech from the early days of television broadcast history when a potent and principled FCC (…weird right?) spoke directly to broadcasters praising their innovations in story — but demanding far more than the baseless violence and cheap thrills that already dominated the airwaves.

In revisiting these words, this experimental essay video modernizes the moment and ask the media of our here and now to push further and be more and avoid becoming another vast wasteland.

Television and the Public Interest Revisited is a culmination of cutting edge projection technology, in a fresh media format using stylized experimental visuals to drive home a timeless argument on improving our culture.

Debuted at SIGNAL 001, 2019, and SXSW 2019 German Haus. This artwork would not have been possible without Crosswater Media.

video/trash art

Digital Art SERIES I

(November 2018 – February 2019)

Series 1 was a collage art sprint in the evenings after work. 3 pieces per session. Not every night, but frequent. Over four months compositional tension, color exploration, and layout were tinkered and experimented with.

A collage series by nature, successful results were driven by a careful eye for asset selection and filter stacking. While technically sophisticated there is an unexpected minimalism in how few procedural steps were necessary to create organically rich compositions.

Select works from Series I are tokenized as Digital Collectors Editions with Rarible on the Ethereum blockchain.



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