As we gear up for the Bitcoin Conference 2025, scheduled for May 27-29 at the Venetian in Las Vegas, digital artist Post Wook, acclaimed for her dreamlike, psychedelic landscapes that fuse cosmic and natural elements, is excited to present her newest series, “The Astronomer’s Daughter,” to an enthusiastic crowd of bitcoin enthusiasts. This collection is a heartfelt homage to her father, a dedicated NASA employee, blending satellite data and Bitcoin block times with seasonal and astronomical phenomena, including the phases of the moon. Post Wook’s work will be featured at both the B25 conference and the associated off-site event, Inscribing Vegas.
I had the opportunity to speak with Post Wook about her latest digital art series, the future of immersive art, and what it was like to see her creation showcased on the Sphere in Las Vegas.
The Las Vegas Sphere has rapidly emerged as the main highlight on the Las Vegas Strip. What was your experience like seeing your artwork, “Everywhere but Inward,” exhibited on the Sphere for the first time?
It truly felt surreal! After spending over a year working on the piece and becoming thoroughly familiar with the animation sequences, seeing it come alive on the Sphere was an incredible moment. The Sphere is MASSIVE, and while photos give a sense of its size, witnessing it in person is entirely different—it’s astonishing. We arrived at our viewing spot about 15-20 minutes before it was set to be displayed, and when it finally appeared, it was exhilarating! I found myself clapping, which is something I seldom do. I was just filled with joy in that moment.
The Sphere boasts one of the world’s largest and most advanced immersive displays, featuring a 16K resolution interior and an exterior LED covering over 580,000 square feet. How does the enormous scale of the Sphere influence viewers’ perception of your digital art? Given your familiarity with fantastical landscapes and extraordinary vistas, this must have been particularly intriguing for you.
The animation process for Everywhere but Inward, 2024, designed for the Sphere, was fascinating, as the scale necessitated a slower animation than I’m usually accustomed to. Watching the animation in its equirectangular format on my monitor felt like watching paint dry. However, on the Sphere, it transforms into a regular animation experience—that’s just the magic of showbiz!
Overall, I’m thrilled to see digital art take center stage. With the Sphere in Las Vegas capturing attention and the new Sphere under construction in Dubai, it’s clear that digital art is gaining momentum and becoming increasingly recognized in our world.
The temporary nature of a public display on the Sphere stands in contrast to the permanence of on-chain art. How do you perceive the dynamic between the grandeur of public spectacles and the private, immutable ownership of digital art? Does this evolution in art ownership and experience impact your creative process?
I view it as a kind of ‘exterior’ and ‘interior’ dynamic, where the Sphere showcases the allure of digital art, while on-chain art affirms its value. Public spectacles draw people in, and on-chain ownership delivers traceable provenance. I strive to balance this tension effectively. Having my work licensed in Target and auctioned at Sotheby’s allows me to cater to all levels of art enthusiasts, reflecting my belief that art is for everyone and everyone deserves a touch of POST WOOK elegance in their lives.
Moreover, on-chain art has opened the door for me to experiment with my more ambitious pieces that utilize blockchain as a medium, and these have become some of my favorites to create. With a longstanding passion for research, merging complex data sets with my artistic vision feels like a dream come true. To those unfamiliar with on-chain art, I often compare this work to the photographs in Harry Potter, except instead of magic animating the images, we employ code and blockchain.
It’s incredibly exciting to connect with collectors who share my data-centric interests and discuss the future of digital art. Sometimes I find myself pinching to confirm how fortunate I am to enjoy both meticulous detailed on-chain art and visually striking retail art.
Can you share more about “The Astronomer’s Daughter” series and what attendees of the Bitcoin Conference or Inscribing Vegas can anticipate in May? I’ve heard whispers that your dad might join you.
The Astronomer’s Daughter has evolved into one of my most cherished projects, and watching it develop has been immensely rewarding. This collection honors my father’s legacy at NASA by intertwining satellite data with my artistic vision. I selected 100 rare satoshis, each with unique astronomical and on-chain significance, to depict events that occurred in space on the day they were created.
The elements included feature the moon phases represented in each image, the constellation the moon travels through reflected by the sky’s color, nearby planets displayed accordingly, along with the month and season depicted in the landscape. Solar holidays, like equinoxes and solstices, are noted, and every image incorporates a chromatic filter based on the year of the satoshi, tying the whole series together.
Each piece is intricately constructed using recursion and inscribed directly onto the corresponding satoshi. In May, I look forward to unveiling five (5) physical shadow boxes showcasing select pieces from The Astronomer’s Daughter, highlighting each artistic layer like a tangible representation of their recursive components. These will be on display at the Bitcoin Conference Las Vegas, promising to be a breathtaking experience! And yes, there’s a chance Father Wook will make an appearance, but I won’t reveal too much—attendees will have to come see for themselves!
Explore Post Wook’s artwork at both Bitcoin Conference Las Vegas and Inscribing Vegas. Tickets for these events, along with access to an array of after parties, are available as part of the Bitcoin Week bundle here: https://b.tc/conference/2025/bitcoin-week.
