Get ready, Bitcoiners! As the Bitcoin Conference 2025 draws closer – mark your calendars for May 27-29th at the Venetian in Las Vegas – prepare to be captivated by the visionary digital artist Post Wook. Celebrated for her breathtaking surreal and psychedelic landscapes that artfully blend cosmic wonders with elements of nature, Post Wook is bringing her latest series, “The Astronomer’s Daughter,” to a vast audience of bitcoin enthusiasts. This special ordinals series is a heartfelt tribute to her father, a veteran NASA employee, and uniquely intertwines satellite data with bitcoin block times, all woven together with the rhythms of seasonal and astronomical patterns like the moon’s phases. You can experience Post Wook’s incredible creations as part of both the main B25 event and the dedicated off-site ordinals showcase, Inscribing Vegas.

I recently had the pleasure of chatting with Post Wook to delve into her fascinating new digital art series, explore the exciting future of immersive art, and hear firsthand about the incredible experience of seeing her artwork come to life on the colossal Sphere in Las Vegas.

The Las Vegas Sphere has quickly become *the* must-see spectacle on the Las Vegas Strip. What was it like for you to witness your artwork, “Everywhere but Inward,” light up the Sphere for the very first time? It must have been quite a moment!

It was honestly such a surreal feeling! I had been working on the piece for over a year, so I knew the animation sequence inside and out, but actually seeing it displayed on the Sphere for the first time was just incredibly cool. The Sphere is truly massive, and even though you think you grasp its size from photos, experiencing it in person just blows you away. We found our viewing spot in Vegas about 15-20 minutes before my piece was scheduled to appear, and when it finally came on, it felt absolutely wild! I think I even started clapping, which is something I *never* do. I was just completely overjoyed to be in that moment.

The Sphere is truly in a league of its own – one of the most immense and technologically advanced immersive platforms globally. It boasts a staggering 16K resolution interior and an exterior LED display that stretches across over 580,000 square feet! How does the sheer scale of the Sphere’s surface impact how viewers perceive your digital artwork? Considering your penchant for fantastical landscapes and mind-expanding visuals, this experience must have been especially captivating.

Animating “Everywhere but Inward, 2024” specifically for the Sphere was a really interesting process because with a screen that enormous, the animation needed to be much slower than what I’d normally create. To be honest, watching the animation as a flat, equirectangular piece on my monitor felt like watching paint dry! But then seeing it on the Sphere, it comes alive and feels like a perfectly paced animation. I guess that’s just the magic of showbiz, right?

Overall, I’m just thrilled to see digital art stepping into the spotlight. With the Sphere in Vegas becoming the talk of the town, and with the upcoming Sphere in Dubai, it’s becoming crystal clear that digital art is on the rise and gaining real legitimacy in the eyes of the world.

The fleeting nature of a public display on the Sphere seems to stand in stark contrast to the lasting permanence of art secured on the blockchain. How do you perceive this interplay between the temporary grandeur of public spectacle and the enduring, private ownership of digital art? And does this dynamic—how art is owned and experienced—shape your creative process or the way you present your work?

I tend to think of it in terms of ‘exterior’ and ‘interior’ roles. The Sphere acts as this incredible ‘exterior’ showcase, introducing people to the captivating world of digital art and showing them just how cool it can be. On-chain art, then, reinforces the ‘interior’ value, proving that digital art is not just cool, but also valuable and collectible. The public spectacle draws everyone in, while on-chain ownership provides verifiable authenticity and history. I like to believe I strike a good balance between these two worlds. By licensing my work for places like Target and having auctions at Sotheby’s, I find satisfaction in making art accessible at various levels, because I truly believe art is for everyone. Everyone deserves a little touch of POST WOOK artistry in their lives!

On the flip side, on-chain art has actually unlocked a space for me to become a bit of a ‘mad scientist’ with my higher-end artwork. It allows me to create art that uses the blockchain itself as part of the medium, and honestly, some of my favorite pieces have come out of this. I’ve always been drawn to research, so being able to fuse complex datasets with my creative vision feels like a dream come true. For those less familiar with on-chain art, I often describe this type of work as being similar to the photographs in Harry Potter – except instead of magic animating the images, we use code and blockchain technology.

What’s even cooler is that I get to connect with collectors who share my passion for data and have in-depth conversations about the future of digital art. I honestly have to pinch myself sometimes, because I feel like I truly have the best of both worlds: creating meticulously detailed on-chain art alongside creating aesthetically pleasing, more accessible retail art.

Tell us more about “The Astronomer’s Daughter” series – it sounds intriguing! What can attendees at Bitcoin Conference or Inscribing Vegas expect to experience from this series in May? And I’ve heard whispers that your dad might even be joining you on the trip?

“The Astronomer’s Daughter” has really blossomed into a cherished project for me – it’s become my favorite ‘brainchild,’ in a way, and it’s been so rewarding to watch it grow. It’s a collection that pays homage to my dad’s incredible career at NASA by beautifully weaving together satellite data with my artistic style. For this series, I selected 100 rare satoshis, each with varying degrees of astronomical and on-chain significance, to visually represent what was happening in space on that particular day.

There are so many layers to each piece! The moon phase depicted is exactly as it appeared in the sky on that day. The constellation the moon was passing through dictates the sky’s color. Any planets that were in close proximity to Earth at the time are also included. The month and season are reflected in the landscape of the image. Even solar holidays, like equinoxes and solstices, are noted. And to tie it all together, there’s a chromatic filter subtly layered over each image, based on the year of the satoshi itself.

Each artwork is then brought to its full form using recursion and inscribed directly onto the very satoshi it represents. It’s a really special process.

This May, I’m excited to be debuting five (5) physical shadow boxes featuring select pieces from “The Astronomer’s Daughter.” These aren’t just prints – they’re designed to showcase each individual layer of the artwork, almost like tangible representations of each recursive element. These shadow boxes will be exclusively on display at the Bitcoin Conference in Las Vegas, and trust me, they’ll be quite a sight to behold! And about my dad… Father Wook *might* just make an appearance, but I don’t want to give too much away! You’ll have to come see for yourselves!

Don’t miss the chance to see Post Wook’s stunning artwork at both Bitcoin Conference Las Vegas and Inscribing Vegas. Snag your tickets to these events, along with access to a fantastic lineup of after-parties, as part of the Bitcoin Week bundle right here: https://b.tc/conference/2025/bitcoin-week.