Sophie Auger is an interdisciplinary artist, designer, and visiting professor at the UQAM School of Design.
She works across video installation, hybrid publishing, photography, and circuit bending.
Her research focuses on the beliefs and superstitions generated by digital technologies, and on how their invisible systems shape the ways we see, interpret, and inhabit the world.
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Coded on June 9, 2026.
PROVENANCE
Mason Gross Gallery, New Jersey
May 2021
In the NFT economy, images are often secondary; they primarily function as stand-ins for a transactional context. Paradoxically, although NFTs are associated with exchange, they are cryptographically unique and therefore not interchangeable. This paradox, combined with the immaterial nature of a technology still in the process of defining itself, informs Provenance, an exhibition that explores the status and experience of the NFT within the context of the art world, as well as its impact on notions of archive and provenance.
The exhibition brings into tension two categories of NFTs: those associated with natively digital files and those linked to physical objects that have been digitized for archival purposes. Whether physical or digital, the blockchain nonetheless redirects the provenance of objects. As soon as an object is tokenized, its existence and history are reinscribed within a digital ledger.
The works presented in the exhibition therefore appear as derivatives of their tokenized originals. In this context, the artwork no longer precedes the archive; it emerges from it. The exhibition reverses the traditional relationship between the object and its documentation, proposing a framework in which the archive becomes the source from which the artwork acquires its value, legitimacy, and existence.
Mason Gross Gallery, New Jersey
May 2021
In the NFT economy, images are often secondary; they primarily function as stand-ins for a transactional context. Paradoxically, although NFTs are associated with exchange, they are cryptographically unique and therefore not interchangeable. This paradox, combined with the immaterial nature of a technology still in the process of defining itself, informs Provenance, an exhibition that explores the status and experience of the NFT within the context of the art world, as well as its impact on notions of archive and provenance.
The exhibition brings into tension two categories of NFTs: those associated with natively digital files and those linked to physical objects that have been digitized for archival purposes. Whether physical or digital, the blockchain nonetheless redirects the provenance of objects. As soon as an object is tokenized, its existence and history are reinscribed within a digital ledger.
The works presented in the exhibition therefore appear as derivatives of their tokenized originals. In this context, the artwork no longer precedes the archive; it emerges from it. The exhibition reverses the traditional relationship between the object and its documentation, proposing a framework in which the archive becomes the source from which the artwork acquires its value, legitimacy, and existence.
Video projection, digital prints, wooden frames, and LEDs. 
