Vortex

The work and its context

Vortex translates Jen Stark’s layered sculptural language into digital tunnels. Successive coloured contours guide the eye inward, while sharp changes of hue and alternating light and dark bands complicate the perception of depth. The centre behaves like both a destination and a visual trap. The indexed edition contains 1,000 works and is project 225. ¹²

Conception and development

The artist’s description links the work to spirals in nature and to her cut-paper sculptures. It names sine waves as part of the digital translation and documents click-and-drag interaction with the tunnels. This connects the digital work to a material practice without treating the screen image as a photograph of a sculpture. ¹³

How the work was constructed

The submitted script inspection identifies the runtime as three@0.124.0. Its account of the seed is: Hash selects palette and ridge frequency. These token-specific choices establish the parameters from which the drawing is generated. The code digest and retrieval locator remain in the research record. ⁴

The three.js work translates successive contours into a sculptural tunnel. The official account names harmonic sine waves, while the supplied inspection associates hash choices with palette and ridge frequency. Changes in contour and repetition alter the apparent rate and character of recession. The documented drag interaction changes the encounter with the tunnel. The still comparisons below establish form and colour, not the exact motion of a full interactive session. ¹²⁴

The comparison below uses static previews. Live rendering is linked separately; animation timing and undocumented controls are not inferred from these images. ⁵⁶

The mint

The supplied Art Blocks index records 1,000 minted works against a maximum of 1,000. Its first-token field gives 7 December 2021; activation is dated 10 December 2021; the scheduled-start field gives 13 December 2021; and completion is dated 13 December 2021. Full timestamps are retained in the evidence record. These fields describe different events and should not be collapsed into a single launch date. ²⁷

An earlier first mint does not establish a reserved or artist allocation. The supplied research does not classify those transactions or independently recover the original public unit price. No exact public sellout duration is asserted from the interval between index fields. ¹²

Copyright and licensing

The supplied project record reports the artwork licence as CC BY-NC-ND 4.0. The linked terms should be read for their particular conditions; this artwork label is kept separate from rights in the artist’s program and its dependencies. The package does not establish a full history of earlier terms. ²⁸

No separate artist-code grant was established in the submitted record. The declared runtime, three@0.124.0, is another rights object and its licence does not automatically license the artwork or artist program. Original essay prose is dedicated to CC0; that dedication does not extend to the work discussed. ⁴⁸

Close reading of examples

The comparison uses editions 0, 1, 10 and 20, identified by their canonical token links. These form a small early-edition sample, not a statistical description of the whole series. ⁷⁹

In #0, jagged violet, pink and blue rings surround a small central opening. The repeated points make the recession pulse between star and circle. Narrow dark intervals give each coloured layer an edge. ⁵

In #1, green and yellow outer bands lead through violet and warm orange toward a dark centre. Numerous fine teeth intensify the surface. The eye has to negotiate both radial depth and rapid local alternation. ⁵

In #10, black-and-white curved wedges alternate with coloured ones around a common centre. The striped surfaces twist visually against one another, making inward movement less stable than the regular rings of #1. ⁵

In #20, nested square contours turn the tunnel into an angular shaft. A rainbow sequence spans orange, green, blue and violet as the squares recede. The change of boundary geometry alters the spatial reading as much as the palette. ⁵

The supplied AB5D holding record identifies edition 711 as the collection example used above. Ownership evidence is recorded separately from the four-output comparison. ¹⁰

Significance and limitations

The series demonstrates that repeated layers need not produce a neutral progression. Their edge shape, spacing and colour can make recession feel smooth, serrated, twisting or architectural. ⁵

The remaining research questions concern the original public price and allocations, earlier rights terms, and any procedural or live-behaviour details not established above. The supplied script digest identifies an indexed retrieval; it is not a pinned-block chain verification. These limits are retained in the research record.