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With the 2025 Bitcoin Conference approaching, scheduled for May 27-29 at Venetian in Las Vegas, digital artist Post Wook (known for her surreal, psychedelic landscapes that incorporate cosmic and natural elements – will bring her latest series, “The Daughter of Astronomers” to a large number of bitcomers. In a tribute to her father, long-time NASA employees, the series uniquely brings satellite data and bitcoin block times to the same as seasonal and astronomical modes such as the moon phase. Wood Wook will showcase the work, part of the B25 and live-in event, engraved with Las Vegas.
I caught up with Wook’s Post Wook to discuss her latest digital art series, The Future of Immersive Art, and the experience of seeing her work on the sphere in Las Vegas.
The Las Vegas sphere has quickly become a major attraction on the Strip. Your artwork is shown on a sphere for the first time, what does it feel like to be “everywhere”?
Honestly, this feels very surreal! I’ve been working on this work for over a year and I’m very familiar with animation sorting, but it’s so cool to see it on a sphere for the first time. The sphere is huge, you think when you see a photo, but when you see a photo in real life, it will shock you. We arrived at the point of observation in Las Vegas about 15-20 minutes before the show pops up, and once it actually appears, it gets so crazy! I think I started to applaud. I never did this. I’m very happy to be in the moment.
The field is one of the largest and most complex immersive platforms in the world, with an internal and external LED display with 16K resolution covering 580,000 square feet. How does the scale of the surface of the sphere affect the viewer’s perception of digital art? You are no stranger to dreamy landscapes or perceived visions, so this must be fun.
Inwards aside, the actual process of animations for Sphere in 2024 is interesting because on one screen, animations have to be much slower than I usually do. Honestly, thinking of animation as an equivalent corner piece on my monitor is like watching the paint dry. But watching it on a sphere feels like regular animation. I think that’s just the entertainment industry.
Overall, I’m happy to see digital art as the center stage. As Sphere in Las Vegas literally becomes a topic of new areas of construction in Dubai, it is clear that digital art is on the rise and is becoming increasingly legitimate to the world around us.
The transient nature of public display on the sphere is in stark contrast to the permanence and invariance of art on the chain. How do you view the tension between public wonder and private, immutable digital art ownership? How does art possession and experience affect the transformation of your approach to creating and presenting your work?
I’m kind of like “outside” and “inside” working with Sphere, showing people that digital art is cool and that on-chain art enhances digital art is valuable. The wonder of the public provides traceable sources for people’s ownership and on-chain ownership. I think I balanced this tension well. By getting a licensed work at Sotheby’s goals and auctions, I can provide art comfort at every level because I really believe art is for everyone, and everyone deserves some slight benefits in their lives.
Chain Art, on the other hand, broke my door and made me a mad scientist who became my “upper” art by creating art that uses blockchain as a medium, and to be honest, it has become my favorite artwork. I have always had a special liking for research, so I was able to combine complex data sets, and my creativity felt like a dream. For the off-chain person, I like to explain the work, just like the photos from Harry Potter, unless we use magic to animate the images, but code and blockchain.
I found that I could sit down with collectors who share my same data-driven interests and chat about the future of digital art. Honestly, I have to pinch myself sometimes because I feel like I do have the best of both worlds, creating carefully detailed on-chain art and aesthetically pleasing retail art.
Tell us more about the “Astronomy’s Daughter” series, Bitcoin conferences or portray what Vegas attendees expect to see in May’s series? I heard rumors that your father might be traveling.
The daughter of an astronomer has become my favorite little idea, and it’s really fun to watch it bloom. It is a mix of satellite data and my art style to recognize my dad’s legacy of working at NASA. I chose 100 rare Satoshis with varying levels of astronomy and chain chain meaning to show what happened in space that day.
Of all the various components, the moon phases are accounted for as the moon displayed in each image, the constellation the moon passes through is represented by the color of the sky, any planets close to earth are displayed accordingly, the month and the season are shown as the landscape in the image, solar holidays (equinoxes and solstics) are recorded, and there’s a chromatic filter on top of every image based on the year of the satoshi to tie it all together.
Then, recursion is used to pull each piece together and engrave directly on the Satoshi represented by the artwork.
In May, I will debut in five (5) physical shadow boxes in the daughter of an astronomer to showcase every layer of the artwork, a physical representation of almost every recursive element. These works will be on display at the Las Vegas Bitcoin Conference and they will be one to see! Yes, Father Walker might even be there, but I don’t want to give too much – people have to see it in person!
See Post Wook’s artwork at the Las Vegas Bitcoin Conference and artwork engraved with Las Vegas. Tickets to these events, as well as access to full gatherings, are available here as part of the Bitcoin Week bundle: https://b.tc/conference/2025/bitcoin-week.
