In Picasso Code 0001_2_3, a work from Nick Fudge’s Picasso Pizazz collection, the artist uses graphics software to update - meta-modernize - one of Picasso’s signature subjects: the seated woman. In his extensive series of digital portraits, Fudge uses digital tools to reinvent the genre, and in Picasso Code 0001_2_3, he transposes styles and techniques from the canvas to the simulacral canvas to reinterpret and challenge conventional forms, reflecting on the disappearance of the subject into algorithmic design. The work also considers how art style can be understood as a cultural code, appropriated, and recirculated in new contexts. Demonstrating the transformative potential of digital media in art, Picasso Code 0001_2_3 offers a contemporary reflection on how modernist legacies can be updated and reimagined in today's digital landscape.

In Picasso Pizazz collection, the contexts of modernism and postmodernism are introduced through the genre of portraiture, weaving them into our current metamodern discourse on the art of the past in relation to a seemingly technologically determined future. This approach serves to recontextualize the impact of machines on modernist art and values. The collection focuses on two of the most influential artists of the twentieth century, Picasso and Duchamp, who had markedly different responses to the machine. The collection not only revisits the motifs and stylistic innovations of its subjects but also integrates modern digital techniques to reimagine their legacies in the context of today's technological advancements. Dive deeper into Picasso Pizazz and Nick Fudge's artistic practice with our exclusive interview.