Rewrite
Welcome to our latest initiative with Rabanne to find the next generation of visionaries in digital image-making.
Titled ‘Arts Factory’, the programme aims to provide a platform for the finalists to showcase their craft for the chance to work with Rabanne on an exciting project at the end of this year.
Ahead of the announcement of the winner, below take a sneak peek into the final projects Alice Bucknell, Lorenzo Risani, Elizabeth O’Brien, Buse Simon, Lola Moniz, and Lucy Ellis created for the initiative.
Out of an impressive pool of applicants, consisting of students and Dazed Club community members, only a few creatives were selected. The six finalists include Alice Bucknell, Lorenzo Risani, Elizabeth O’Brien, Buse Simon, Lola Moniz, and Lucy Ellis.
Ranging across different forms of multimedia, their specialities vary from merging traditional and digital art practices to using technological advancements as a means of storytelling – while also critiquing what the rapid evolution of current tech means for art and culture as a whole today.
Head here to find out more about each artist head below to check out their final submissions.
目次
- 1 ALICE BUCKNELL
- 2 LORENZO RISANI
- 3 BUSE SIMON
- 4 ELIZABETH O’BRIEN
- 5 LOLA MONIZ
- 6 LUCY ELLIS
- 7 ALICE BUCKNELL
- 8 LORENZO RISANI
- 9 BUSE SIMON
- 10 ELIZABETH O’BRIEN
- 11 LOLA MONIZ
- 12 LUCY ELLIS
- 13 JEFFERSON HACK
- 14 JULIEN DOSSENA
- 15 VENUS LAU
- 16 CLAUDE ADJIL
- 17 ALICE BUCKNELL
- 18 LORENZO RISANI
- 19 BUSE SIMON
- 20 ELIZABETH O’BRIEN
- 21 LOLA MONIZ
- 22 LUCY ELLIS
- 23 ALICE BUCKNELL
- 24 LORENZO RISANI
- 25 BUSE SIMON
- 26 ELIZABETH O’BRIEN
- 27 LOLA MONIZ
- 28 LUCY ELLIS
- 29 JEFFERSON HACK
- 30 JULIEN DOSSENA
- 31 VENUS LAU
- 32 CLAUDE ADJIL
ALICE BUCKNELL
Bucknell’s submission envisions three speculative worlds exploring climate modification technologies and their social and ecological implications. Inspired by feminist speculative fiction writers like Ursula Le Guin and Octavia E. Butler, each scene focuses on a nonhuman perspective. In the first scene, we witness a Swiss landscape with a giant carbon-capturing device resembling futuristic architecture, viewed humorously through a cow’s perspective; the second scene shows a tropical jungle at night with synthetic ‘Supertrees’ framed through a moth’s viewpoint; and the third scene depicts a ‘data forest’ inspired by NASA’s GEDI project, seen from a low, animal-like angle while a technicolour scanner maps the jungle.
LORENZO RISANI
Risani’s submission, “Sight Allows Human Beings to Perceive the Division Between the Body and the Outside World”, features three 10-second video loops in a 16:9 format with a stereo sound system and explores the interplay between digital and physical realms, questioning whether human perception is more flawed than digital perception. The collected data then underwent two processes. First, support software was used to generate an audio track that translated the pixel positions captured by the sensor during the scanning phase into sound. Second, the scan was manipulated by transforming the texture of the scanned volume into a series of spheres. These spheres were then animated with random distortions in their position and size, introducing an element of natural randomness.
BUSE SIMON
Buse Simon, known as BUSESART, is a London-based technical 3D artist specialising in Unreal Engine 5. Her work often includes creating virtual assistants, immersive 3D characters, animations, and environments. As a 3D artist, she recognises her power to harness the technology of her age, leveraging real-time graphics and complex resolutions to create immersive alternate realities. For her submission, Simon explores the overwhelming pressures of the digital era, where overconsumption and toxic productivity dominate. In a real-time rendered dystopian city, her digital alter ego navigates a world that feels “all too familiar”.
ELIZABETH O’BRIEN
O’Brien’s multimedia installation, titled ‘Ninti’, named after a Sumerian childbirth goddess, is influenced by Margaret Atwood and critiques the grim, womb-like aesthetics prevalent in cult sci-fi films, such as Alien, which depict dark, machine-like worlds based on the female anatomy. In contrast, O’Brien’s work is vibrant and beautiful – visual speculative fiction embodying a future icon of divine femininity. Through ‘Ninti’, O’Brien addresses the delusions perpetuated by masculine-dominated societies regarding femininity and motherhood, presenting an ideal of femininity that, in O’Brien’s words, “belongs to a future yet to come.”
LOLA MONIZ
Inspired by video games and immersive experiences, Moniz explores how virtual and physical worlds intersect by building comprehensive universes with rich visual and auditory narratives. In her artistic statement, Moniz explains: “My approach involves exploring possible worlds by capturing a real space and then introducing it into an imaginary one, thus fictionalising existing places.” With a practice rooted in ”wandering and collecting”, Moniz creates “zones of latency” where viewers face “an intensified reality or a deeply real fiction”. Textureless scans appear as objects amid creation or destruction, accentuating these zones. By subverting the traditional use of scanning to replicate an image clearly, Moniz creates fragmentary and distorted artefacts, allowing her images to transcend the limits of space and/or place.
LUCY ELLIS
Her work bridges the digital and analogue by using scrap and found materials to create new identities and narratives. Central to Ellis’ practice is exploring our relationship with technology and the intimacy we share with our devices. Ellis’ submission examines ‘technophilia’, defined as the proximity of devices that mirror romantic relationships, transforming them into extensions of ourselves. In a chaotic, fast-paced environment, Ellis presents characters whose interactions with devices are ambiguous, questioning whether they are cohesive, controlled, or chasing each other. This work was created by collaging imagery, digitally generated images, and layering of digital textures. Ellis then transferred this to a VHS tape and, finally, back to digital to add more intricate and detailed textures.
Out of an impressive pool of applicants, consisting of students and Dazed Club community members, only a few creatives were selected. The six finalists include Alice Bucknell, Lorenzo Risani, Elizabeth O’Brien, Buse Simon, Lola Moniz, and Lucy Ellis.
Ranging across different forms of multimedia, their specialities vary from merging traditional and digital art practices to using technological advancements as a means of storytelling – while also critiquing what the rapid evolution of current tech means for art and culture as a whole today.
ALICE BUCKNELL
Alice Bucknell is an artist, writer, and educator based in Los Angeles. Their recent work has focused on creating cinematic universes within game worlds, exploring the affective dimensions of video games as interfaces for understanding complex systems, relations and forms of knowledge. They are the organizer of New Mystics and faculty at SCI-Arc in LA.
LORENZO RISANI
Born in Bagno a Ripoli, Italy, in 2000, Lorenzo Risani is a multimedia artist working with photography, video, sound, sculpture, and 3D modelling. He initially studied Biology at the University of Pisa but shifted to art after winning a scholarship to Istituto Marangoni, where he now studies Multimedia Arts in Florence. Lorenzo’s art journey began in 2016 after a workshop with photographer Marco Quinti, leading to exhibitions such as Le farfalle non devono essere toccate (2017), Flash in Romania (2018) and most recently Visionary Minds #2 (2023). Currently, Lorenzo is preparing installations for the upcoming Istituto Marangoni Firenze Graduation Show.
BUSE SIMON
Buse Simon, known professionally as BUSESART, is a London-based technical 3D artist specialising in ‘Unreal Engine 5’ – a 3D creational tool. Collaborating with global brands and artists like Chris Avantgarde, ARTBAT, and KAS:ST, she’s also an Unreal Engine Fellowship alum and part of the Epic Dev Community. Currently, she imparts her expertise as an Unreal Engine Instructor for the ARCHI-Metaverse-PRO Advanced Modelling & Game Design Class, alongside her role as a Production Designer at Populous London. Her work includes developing virtual assistants and creating immersive 3D characters, animations, and environments.
ELIZABETH O’BRIEN
Elizabeth O’Brien’s artistic practice blends digital animation and sculpture to explore contemporary, digital environments. Her work often critiques the current relentless advancement of technology and its capitalist ties, questioning the boundaries between technology and nature by merging woodwork with digital software. O’Brien creates objects that reimagine anthropocentric narratives. In her work with Collective Hysteria – a multidisciplinary collective – her digital avatars challenge traditional gallery spaces, broadening accessibility and confronting gendered social structures.
LOLA MONIZ
Elizabeth O’Brien’s artistic practice blends digital animation and sculpture to explore contemporary, digital environments. Her work often critiques the current relentless advancement of technology and its capitalist ties, questioning the boundaries between technology and nature by merging woodwork with digital software. O’Brien creates objects that reimagine anthropocentric narratives. In her work with Collective Hysteria – a multidisciplinary collective – her digital avatars challenge traditional gallery spaces, broadening accessibility and confronting gendered social structures.
LUCY ELLIS
Lucy Ellis is an experimental animator in her final year of BA Fine art with Creative Computing. Her work blurs the lines between digital and analogue, using scrap and found materials to craft new identities and narratives. Texture plays a crucial role in her practice, helping to evoke different memories. Ellis’s innovative approach repurposes materials, transforming their original purpose into something entirely new. With a keen eye for process and materiality, her animations explore the ephemeral nature of existence, creating an immersive experience that resonates deeply with her viewers.
For the judging process, four industry experts joined forces to find the next generation of talent, including Dazed co-founder and CEO Jefferson Hack, Julien Dossena, Venus Lau and Claude Adjil.
Get to know the judges better below.
JEFFERSON HACK
Jefferson Hack (b. 1971) is a curator, creative director and co-founder of Dazed Media, an independent media company renowned for producing award-winning stories across its industry leading print, digital and video brands. The company’s portfolio includes some of the world’s most influential media brands including AnOther, Dazed, Dazed Beauty and Nowness and the company’s creative agency, Dazed Studio.
JULIEN DOSSENA
Born in Brittany in 1982, Julien Dossena studied at the École d’Arts Appliqués Duperré in Paris. He attained his diploma in fashion design at La Cambre fashion department in Brussels in 2007. In 2008, Dossena was named Senior Designer at Balenciaga under Nicolas Ghesquière. Today Dossena translates Paco Rabanne’s artisanal heritage with a deft hand in new propositions that allude to the sensual, down-to-earth sophistication that defines Paco Rabanne today.
![PORTRAIT_JULIEN DOSSENA_PAOLO ROVERSI[50]](https://images-prod.dazeddigital.com/1600/azure/dazed-prod/1370/6/1376778.jpg)
VENUS LAU
Venus Lau is the director of Museum MACAN in Jakarta. Prior to the current position, Lau worked for Modern (Meta) Media Group as the Art Strategic Director after serving as the artistic director at K11 Art Foundation (KAF), for the latter role she oversaw the Foundation’s artistic programming, providing insight on creative content building for projects, including German artist Katharina Grosse’s first solo exhibition in China, Mumbling Mud; KAF’s group exhibitions Glow like That and Emerald City in Hong Kong; and Betty Woodman: House and Universe at chi K11 art museum in Shanghai.
CLAUDE ADJIL
Claude Adjil is a curator and producer. Currently, Curator-at-Large at Serpentine, London and Aspen Art Museum, USA. At the Serpentine, Adjil has curated major exhibitions including Steve McQueen: Grenfell (2023), Arthur Jafa: RHAMESJAFACOSEYJAFADRAYTON (2022) and Grace Wales Bonner: A Time for New Dreams (2019). Since 2017, she has curated Park Nights, Serpentine’s annual interdisciplinary live programme. At the Aspen Art Museum, Adjil curated the large-scale commission, Every Earthly Morning the Sky’s Light Touches Ur Life is Unprecedented in its Beauty (2021-2022) by poet and artist Precious Okoyomon.
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
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Welcome to our latest initiative with Rabanne to find the next generation of visionaries in digital image-making.
Titled ‘Arts Factory’, the programme aims to provide a platform for the finalists to showcase their craft for the chance to work with Rabanne on an exciting project at the end of this year.
Ahead of the announcement of the winner, below take a sneak peek into the final projects Alice Bucknell, Lorenzo Risani, Elizabeth O’Brien, Buse Simon, Lola Moniz, and Lucy Ellis created for the initiative.
Out of an impressive pool of applicants, consisting of students and Dazed Club community members, only a few creatives were selected. The six finalists include Alice Bucknell, Lorenzo Risani, Elizabeth O’Brien, Buse Simon, Lola Moniz, and Lucy Ellis.
Ranging across different forms of multimedia, their specialities vary from merging traditional and digital art practices to using technological advancements as a means of storytelling – while also critiquing what the rapid evolution of current tech means for art and culture as a whole today.
Head here to find out more about each artist head below to check out their final submissions.
ALICE BUCKNELL
Bucknell’s submission envisions three speculative worlds exploring climate modification technologies and their social and ecological implications. Inspired by feminist speculative fiction writers like Ursula Le Guin and Octavia E. Butler, each scene focuses on a nonhuman perspective. In the first scene, we witness a Swiss landscape with a giant carbon-capturing device resembling futuristic architecture, viewed humorously through a cow’s perspective; the second scene shows a tropical jungle at night with synthetic ‘Supertrees’ framed through a moth’s viewpoint; and the third scene depicts a ‘data forest’ inspired by NASA’s GEDI project, seen from a low, animal-like angle while a technicolour scanner maps the jungle.
LORENZO RISANI
Risani’s submission, “Sight Allows Human Beings to Perceive the Division Between the Body and the Outside World”, features three 10-second video loops in a 16:9 format with a stereo sound system and explores the interplay between digital and physical realms, questioning whether human perception is more flawed than digital perception. The collected data then underwent two processes. First, support software was used to generate an audio track that translated the pixel positions captured by the sensor during the scanning phase into sound. Second, the scan was manipulated by transforming the texture of the scanned volume into a series of spheres. These spheres were then animated with random distortions in their position and size, introducing an element of natural randomness.
BUSE SIMON
Buse Simon, known as BUSESART, is a London-based technical 3D artist specialising in Unreal Engine 5. Her work often includes creating virtual assistants, immersive 3D characters, animations, and environments. As a 3D artist, she recognises her power to harness the technology of her age, leveraging real-time graphics and complex resolutions to create immersive alternate realities. For her submission, Simon explores the overwhelming pressures of the digital era, where overconsumption and toxic productivity dominate. In a real-time rendered dystopian city, her digital alter ego navigates a world that feels “all too familiar”.
ELIZABETH O’BRIEN
O’Brien’s multimedia installation, titled ‘Ninti’, named after a Sumerian childbirth goddess, is influenced by Margaret Atwood and critiques the grim, womb-like aesthetics prevalent in cult sci-fi films, such as Alien, which depict dark, machine-like worlds based on the female anatomy. In contrast, O’Brien’s work is vibrant and beautiful – visual speculative fiction embodying a future icon of divine femininity. Through ‘Ninti’, O’Brien addresses the delusions perpetuated by masculine-dominated societies regarding femininity and motherhood, presenting an ideal of femininity that, in O’Brien’s words, “belongs to a future yet to come.”
LOLA MONIZ
Inspired by video games and immersive experiences, Moniz explores how virtual and physical worlds intersect by building comprehensive universes with rich visual and auditory narratives. In her artistic statement, Moniz explains: “My approach involves exploring possible worlds by capturing a real space and then introducing it into an imaginary one, thus fictionalising existing places.” With a practice rooted in ”wandering and collecting”, Moniz creates “zones of latency” where viewers face “an intensified reality or a deeply real fiction”. Textureless scans appear as objects amid creation or destruction, accentuating these zones. By subverting the traditional use of scanning to replicate an image clearly, Moniz creates fragmentary and distorted artefacts, allowing her images to transcend the limits of space and/or place.
LUCY ELLIS
Her work bridges the digital and analogue by using scrap and found materials to create new identities and narratives. Central to Ellis’ practice is exploring our relationship with technology and the intimacy we share with our devices. Ellis’ submission examines ‘technophilia’, defined as the proximity of devices that mirror romantic relationships, transforming them into extensions of ourselves. In a chaotic, fast-paced environment, Ellis presents characters whose interactions with devices are ambiguous, questioning whether they are cohesive, controlled, or chasing each other. This work was created by collaging imagery, digitally generated images, and layering of digital textures. Ellis then transferred this to a VHS tape and, finally, back to digital to add more intricate and detailed textures.
Out of an impressive pool of applicants, consisting of students and Dazed Club community members, only a few creatives were selected. The six finalists include Alice Bucknell, Lorenzo Risani, Elizabeth O’Brien, Buse Simon, Lola Moniz, and Lucy Ellis.
Ranging across different forms of multimedia, their specialities vary from merging traditional and digital art practices to using technological advancements as a means of storytelling – while also critiquing what the rapid evolution of current tech means for art and culture as a whole today.
ALICE BUCKNELL
Alice Bucknell is an artist, writer, and educator based in Los Angeles. Their recent work has focused on creating cinematic universes within game worlds, exploring the affective dimensions of video games as interfaces for understanding complex systems, relations and forms of knowledge. They are the organizer of New Mystics and faculty at SCI-Arc in LA.
LORENZO RISANI
Born in Bagno a Ripoli, Italy, in 2000, Lorenzo Risani is a multimedia artist working with photography, video, sound, sculpture, and 3D modelling. He initially studied Biology at the University of Pisa but shifted to art after winning a scholarship to Istituto Marangoni, where he now studies Multimedia Arts in Florence. Lorenzo’s art journey began in 2016 after a workshop with photographer Marco Quinti, leading to exhibitions such as Le farfalle non devono essere toccate (2017), Flash in Romania (2018) and most recently Visionary Minds #2 (2023). Currently, Lorenzo is preparing installations for the upcoming Istituto Marangoni Firenze Graduation Show.
BUSE SIMON
Buse Simon, known professionally as BUSESART, is a London-based technical 3D artist specialising in ‘Unreal Engine 5’ – a 3D creational tool. Collaborating with global brands and artists like Chris Avantgarde, ARTBAT, and KAS:ST, she’s also an Unreal Engine Fellowship alum and part of the Epic Dev Community. Currently, she imparts her expertise as an Unreal Engine Instructor for the ARCHI-Metaverse-PRO Advanced Modelling & Game Design Class, alongside her role as a Production Designer at Populous London. Her work includes developing virtual assistants and creating immersive 3D characters, animations, and environments.
ELIZABETH O’BRIEN
Elizabeth O’Brien’s artistic practice blends digital animation and sculpture to explore contemporary, digital environments. Her work often critiques the current relentless advancement of technology and its capitalist ties, questioning the boundaries between technology and nature by merging woodwork with digital software. O’Brien creates objects that reimagine anthropocentric narratives. In her work with Collective Hysteria – a multidisciplinary collective – her digital avatars challenge traditional gallery spaces, broadening accessibility and confronting gendered social structures.
LOLA MONIZ
Elizabeth O’Brien’s artistic practice blends digital animation and sculpture to explore contemporary, digital environments. Her work often critiques the current relentless advancement of technology and its capitalist ties, questioning the boundaries between technology and nature by merging woodwork with digital software. O’Brien creates objects that reimagine anthropocentric narratives. In her work with Collective Hysteria – a multidisciplinary collective – her digital avatars challenge traditional gallery spaces, broadening accessibility and confronting gendered social structures.
LUCY ELLIS
Lucy Ellis is an experimental animator in her final year of BA Fine art with Creative Computing. Her work blurs the lines between digital and analogue, using scrap and found materials to craft new identities and narratives. Texture plays a crucial role in her practice, helping to evoke different memories. Ellis’s innovative approach repurposes materials, transforming their original purpose into something entirely new. With a keen eye for process and materiality, her animations explore the ephemeral nature of existence, creating an immersive experience that resonates deeply with her viewers.
For the judging process, four industry experts joined forces to find the next generation of talent, including Dazed co-founder and CEO Jefferson Hack, Julien Dossena, Venus Lau and Claude Adjil.
Get to know the judges better below.
JEFFERSON HACK
Jefferson Hack (b. 1971) is a curator, creative director and co-founder of Dazed Media, an independent media company renowned for producing award-winning stories across its industry leading print, digital and video brands. The company’s portfolio includes some of the world’s most influential media brands including AnOther, Dazed, Dazed Beauty and Nowness and the company’s creative agency, Dazed Studio.
JULIEN DOSSENA
Born in Brittany in 1982, Julien Dossena studied at the École d’Arts Appliqués Duperré in Paris. He attained his diploma in fashion design at La Cambre fashion department in Brussels in 2007. In 2008, Dossena was named Senior Designer at Balenciaga under Nicolas Ghesquière. Today Dossena translates Paco Rabanne’s artisanal heritage with a deft hand in new propositions that allude to the sensual, down-to-earth sophistication that defines Paco Rabanne today.
VENUS LAU
Venus Lau is the director of Museum MACAN in Jakarta. Prior to the current position, Lau worked for Modern (Meta) Media Group as the Art Strategic Director after serving as the artistic director at K11 Art Foundation (KAF), for the latter role she oversaw the Foundation’s artistic programming, providing insight on creative content building for projects, including German artist Katharina Grosse’s first solo exhibition in China, Mumbling Mud; KAF’s group exhibitions Glow like That and Emerald City in Hong Kong; and Betty Woodman: House and Universe at chi K11 art museum in Shanghai.
CLAUDE ADJIL
Claude Adjil is a curator and producer. Currently, Curator-at-Large at Serpentine, London and Aspen Art Museum, USA. At the Serpentine, Adjil has curated major exhibitions including Steve McQueen: Grenfell (2023), Arthur Jafa: RHAMESJAFACOSEYJAFADRAYTON (2022) and Grace Wales Bonner: A Time for New Dreams (2019). Since 2017, she has curated Park Nights, Serpentine’s annual interdisciplinary live programme. At the Aspen Art Museum, Adjil curated the large-scale commission, Every Earthly Morning the Sky’s Light Touches Ur Life is Unprecedented in its Beauty (2021-2022) by poet and artist Precious Okoyomon.
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
