Misfits Studio

25yr contemporary artist, former college art prof. Now AI video. British Art Fair 2026. Curated work: Fellowship. X: Experiments/play/etc. CPP: Leonardo, Pika

[The Daily Program @dailydotxyz]

Coming soon → Crawlers by @rybinfx

Launching in collaboration with @opensea

[Misfits Studio @Barbara_Chira]

@dailydotxyz @rybinfx @opensea Cool.

[Misfits Studio @Barbara_Chira]

@sinusoidalsnail @musicalnetta many thanks, @sinusoidalsnail
back at ya

@musicalnetta ⤵️

💫🌟——> @sinusoidalsnail <—— 🌟💫

[Misfits Studio @Barbara_Chira]

That’s a truly awful nightmare. So sorry.

In my younger adult years, I was actually a paramedic for several years. One of the ambulance calls involved a private plane that went down and was entangled in and dangling from the power lines. When we arrived, the pilot was actually standing there and uninjured. I forgot about that until you mentioned your nightmares!

I especially liked this one by Anthony as it expresses my life at this time. Disastrous events beyond imagination, yet somehow, despite the environment, continuing with the mundane tasks of everyday life. Or so it seems. 😉

[Misfits Studio @Barbara_Chira]

I mean, this video, it’s life, innit?

Very happy to have been able to add Anthony Sylvester’s (@cutsdatflo) “Mild Mishaps in the Wild West #19” (shown below) to my small collection of NFT art.

[The Daily Program @dailydotxyz]

For those discovering your work for the first time, who is Anthony Sylvester? How did you move from commercial filmmaking and music videos into your own artistic practice?

I’m a small-town kid who’s been living in big cities since I was an older teenager. I found filmmaking at 14, shooting BMX videos in the suburbs of Philadelphia, and I’ve been at it ever since, working across just about every corner of film and digital media. I’m an experimenter, an Aquarian, a pessimistic optimist, and someone who needs adventure and freshness to feed both my life and my work. I still make commercial work, but most of my energy now goes into my own practice, and that shift really happened during COVID. On paper I was busy, doing a lot of music videos that looked creative and fun from the outside, but they were draining me. I’d spent years trying to find my way back to video art, which was my first love as a teenager in New York, making pieces inspired by David Lynch’s short films, Stan Brakhage, and the avant-garde filmmakers who showed me what the medium could be. Making a living had pushed all of that aside. So I started driving deep into the desert, really far out, shooting landscapes and roadside oddities on VHS and cutting little vignettes just for myself. People started paying attention, some of them went viral, and soon brands like Converse were asking me to make work in that exact style. That’s when it clicked for me: the more I leaned into my artistic side, the more people responded, because it was an honest look into who I am. Then I found AI, and everything opened up. Suddenly those desert tapes could hold whole narratives, new meaning, new intention, and that’s when I decided to go all in and make my art one of the biggest priorities in my life.

[Misfits Studio @Barbara_Chira]

@cutsdatflo I’m so glad to have won the bid. It’s so good, Anthony.

🛸🤠👽

[Misfits Studio @Barbara_Chira]

@MiaKiraki thanks so very much

[Misfits Studio @Barbara_Chira]

This is just a playful experiment using stills that I grabbed from the first two scenes in the early stop-motion, The Cameraman’s Revenge, by Ladislas Starevich (1912), now in the public domain. (Link to original in comments.)

I’ve always had a very keen interest in early film, and I’ve been wanting to play around with public domain films for a while now, to see where AI might take me.

With Starevich’s classic, it was not the first stop-motion, but it was the first to use real insects, and is considered by many as the most significant early stop-motion. A former entomologist, he was meticulous in the rigging and posing of the insect carcasses. And his humorous story was one of ”adultery, voyeurism, hypocrisy, and revenge porn” — among insect specimens.

In my little humorous experiment here, I pretty much follow Starevich’s original storyline. But IF I continue with this adventure, I think I would want to construct new stories using old public domain films, and maybe mash them up.

As many of you know, my small family and I have suffered multiple losses of immediate family the past 2 months, and also still have family in the hospital. My husband and I, as the primary caregivers, are overwhelmed. As a result, I also have become intermittently ill myself. And emotionally, just can’t seem to connect to my existing AI video work at this time of complicated grieving.

Maybe playing with old films that I have loved so much is a way to stay active (I won’t use the word creative). I don’t know, though, because understandably, it just doesn’t seem very important right now.

Humor helps, though. Hope you get a kick out of AI’s and my take on these scenes:

[Misfits Studio @Barbara_Chira]

@cutsdatflo thanks, Anthony

listening to your X space helped me remember I had been wanting to do this

congratulations on your solo exhibition, with all but one having current bids. hoping to win my bid, but I’m prepared to wake up to defeat, haha

[Misfits Studio @Barbara_Chira]

https://t.co/wZizR7bAXI

[Misfits Studio @Barbara_Chira]

@cutsdatflo 🫶📽️🛸😍

[The Daily Program @dailydotxyz]

"Mild Mishaps in the Wild West" by @cutsdatflo

Now live ⚡️

https://t.co/arc8oHKVo4

[Misfits Studio @Barbara_Chira]

@dailydotxyz @cutsdatflo gm

good luck, Anthony! 🎉👏👍🔥

[Misfits Studio @Barbara_Chira]

@ttiimmees I would say, lettuce pray

[Misfits Studio @Barbara_Chira]

Code Name: Little Agent Luminata
Organization: The Counterintelligence Bureau

Signal-response specialist. Electrical current and light leakage have been observed across the body and through a persistent rupture, sometimes accompanied by minor anatomical movement and an unidentified vocalization. The Bureau has not established whether these events are connected.

Notes:

The Counterintelligence Bureau is a digital collection of single-edition art toys, the Little Agents. Through these Little Agents, the Bureau studies evolving ideas about human consciousness and how humans might determine whether AI is conscious.

Dolls historically occupy the strange space between object and companion, inviting us to project feeling, intention, and inner life onto things we know are not alive. The Bureau uses that ambiguity to mirror how humans might believe they’re seeing consciousness in AI through various signs. But while the Agents may appear to exhibit consciousness, it’s never enough to let us know for sure. Artificial companions disguised as collectibles, they remain unreadable by design, and our efforts to identify AI consciousness remain futile.

Lastly, their comparative stillness becomes a form of friction, resisting the speed of the feed while also testing the machine’s current capacity to resist the urge to animate.

[Misfits Studio @Barbara_Chira]

@twt_cha_ gn cha

[Misfits Studio @Barbara_Chira]

@JakNFT Very cool. Thank you.

[The Daily Program @dailydotxyz]

✍️ Written interview with @cutsdatflo

Meet Anthony Sylvester, a Los Angeles-based filmmaker and video artist whose practice combines analog video, AI, and a fascination with the absurdities of everyday life. Drawing on years of filming landscapes across the American West, he transforms his VHS footage into surreal narratives where beauty, humor, and impending disaster coexist.

For his new DAILY series, Mild Mishaps in the Wild West, Anthony explores the uneasy relationship between humans and nature, imagining small catastrophes unfolding across America’s vast and beautiful landscapes. Blending nostalgia, absurdity, and environmental anxiety, his work invites us to reflect on our relentless desire to reshape the world around us.

↓ Read the full interview below