HERSOID at Temple Gallery, NYC

Alongside his participation in exhibitions in NFT.NYC in June 2025, HERSOID organised a solo show at Temple Gallery. The show was a collaboration with New York crypto performance art outfit METABETTIES, with whom HERSOID had worked for the Interstellar Overdrive show at Canvas 3.0 in the World Trade Centre. The show featured paintings, drawings and …

HERSOID at Lume Studios, NYC

A beautiful curation of a diverse selection of artists by Kei Gowda for Linda Global. The event featured Linda Global’s trademark ‘sculptural’ hanging style, with screens suspended in dynamic combinations to showcase the selections by various artists. https://x.com/WaitHopeFound/status/1939716916311920967

Body count

This piece from Hersoid’s current exhibition pulls no punches. It’s a sharp visual pivot from the lethargic stillness of the seated quartet to something far more cinematic and brutal: an ambush, a collapse, or maybe just the final act of late-stage capitalism played out on a sun-bleached pavement. Three suited figures lie splayed in contorted …

The wait

Hersoid’s new piece from the latest exhibition—seen here with its melancholic quartet slumped in a loose, purgatorial waiting room—draws a direct line from the existential dread of Kafka to the psychological dislocation of Beckett. The figures, rendered in fragile linework and bleeding washes of orange-red ink, are not so much seated as suspended—dangling somewhere between …

Cashing out

Hersoid‘s latest artwork continues his signature approach of blending the mundane with the surreal, echoing themes of routine, alienation, and quiet absurdity. This piece builds on his existing oeuvre by juxtaposing everyday activities—such as using an ATM—with an intricate, almost hypnotic background pattern. Composition & Themes: How It Fits with HERSOID’s Oeuvre:

9 to 5

In 9 to 5, HERSOID turns his sardonic gaze on the slickest tragedy of late capitalism: the corporate man—suited, salaried, slumped. This new series is a bruised ballet of unconscious bodies, each figure finely rendered and floating in negative space like discarded icons of a failed religion. These are not portraits of power, but of …