ANNKA KULTYS GALLERY presents a programme of online and VR exhibitions, augmented by invitation-only private events, and occupies a singular position within London’s contemporary art landscape as a commercial gallery dedicated entirely to digital, new-media, and technology-engaged artistic practices.
Unlike institutions or immersive venues that incorporate digital art episodically, ANNKA KULTYS GALLERY has embedded digital practice at the core of its curatorial, commercial, and intellectual identity since its inception in 2015.
Each digital still is a high-resolution artwork delivered as a TV-format file, accompanied by both vertical (9:16) and landscape (16:9) master formats. The work is conceived specifically for display on domestic screens, offering collectors an immediate and seamless way to live with digital art.
WHY COLLECT A DIGITAL ART?
As screens become integral to everyday life, these works position the television as a contemporary site of display, transforming a familiar domestic object into a dynamic platform for the presentation and collection of art. The editions offer an accessible entry point into new media practices, grounded in the work of leading artists with internationally exhibited and critically established practices.
The £100 Artwork: How ANNKA KULTYS GALLERY Is Democratising Digital Collecting?
In a market often defined by exclusivity and high barriers to entry, ANNKA KULTYS GALLERY proposes a different model: accessible, immediate, and native to the way we live with images today.
With the launch of a new limited edition of digital stills by Signe Pierce, the London-based gallery reframes the act of collecting for a screen-based culture. Priced at £100 and delivered as high-resolution TV-format files in both vertical and landscape formats, the works are designed to be displayed directly within the domestic environment—on the screens that already structure our daily lives.
Rather than positioning digital art as something separate or technical, the initiative integrates it seamlessly into familiar contexts. The television, often associated with passive consumption, becomes an active site of engagement: a space where contemporary art can be lived with, not just observed.
This approach reflects a broader shift within the art market, where digital formats are no longer marginal but central. Yet while much of the conversation has focused on blockchain and speculative economies, ANNKA KULTYS GALLERY’s model is notably direct: no technological barrier, no prior knowledge required—only the desire to collect and live with contemporary art.
The result is a proposition that is both simple and radical: an artwork that can be acquired instantly, displayed effortlessly, and experienced daily.
ANNKA KULTYS GALLERY will present ELECTROTEXTURE, a presentation of seven short moving-image works by American artist Signe Pierce, drawn from her ongoing series ELECTROTEXTURE (2014–ongoing). Captured on her iPhones as she moves between cities including New York, Mexico City, Los Angeles and London, the works record fleeting optical phenomena produced when neon light encounters reflective surfaces: puddles, airport vitrines, car bodies, glass and polished metal. Pierce’s subject is not the city itself, but the heightened visual reality that appears momentarily within it. The presentation will be augmented by a daily live performance by Signe Pierce at the booth.
Signe Pierce is an American artist who draws on a multimedia suite of image-making techniques with a postdigital technicolour palette, to explore notions of gender, identity, and the dissolving boundary between simulation and the real. Pierce delves deeply into the impact of digital culture on contemporary life, often blending elements of performance, photography, video art, and more recently music to create immersive experiences. By juxtaposing vibrant, hyperreal visuals with critical commentary, Pierce art not only highlights societal constructs but also challenges viewers to question their perceptions of reality and the influence of technology on self-expression.
