We are proud to present [a series of 5 videos](/brody-condon) by artist [Brody Condon](/brody-condon), recorded in 2014. 

The Berlin based artist (b. Mexico 1974) often facilitates and documents game-like group encounters that experientially probe dissociative phenomena. His work is best known for its early influence on re-purposing computer games and LARP techniques ([Wikipedia](https://en.wikipedia.org/wiki/Brody_Condon)).

Condon's work has been widely exhibited internationally, and been acquired by public collections such as the Stedelijk Museum Amsterdam, Los Angeles County Museum of Art, Albright-Knox Gallery, and the Kadist Foundation.

The 5 video works are each available in an edition of [3 non-fungible Ethereum tokens](https://left.gallery/work/evp-amie). These tokens are progressively priced: respectively 0.5, 1.0, and 2.0 ether, and sold on a [first-come, first-served basis](https://left.gallery/work/possession-janet) (no auction).

We like to thank our friends at [Folia](https://www.folia.app/) and Alberto Granzotto for their support.

Possessed High-Poly NFTs

Read our co-founder Harm van den Dorpel's text [Tokenizing Sustainability](https://harm.work/news/tokenizing-sustainability) about his position on NFTs and the direction left gallery is taking.

Harm van den Dorpel on NFTs

Lorna Mills

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 820 × 700 px at 60 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Whorey Potter and The Sorcerer's Dick*

2. MP4 (h.264) display copy of *Whorey Potter and The Sorcerer's Dick*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer  for this artwork.

Whorey Potter and The Sorcerer’s Dick

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 1030 × 700 px at 8 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Twin Cheeks*

2. MP4 (h.264) display copy of *Twin Cheeks*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

Twin Cheeks

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 591  ×  462 px at 15 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *The Italian Blowjob*

2. MP4 (h.264) display copy of *The Italian Blowjob*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

The Italian Blowjob

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 800 × 700 px at 30 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *The Da Vinci Load*

2. MP4 (h.264) display copy of *The Da Vinci Load*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer  for this artwork.

The Da Vinci Load

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 421 × 700 px at 30 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Robocock*

2. MP4 (h.264) display copy of *Robocock*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

Robocock

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 820 × 700 px at 25 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Pulp Friction*

2. MP4 (h.264) display copy of *Pulp Friction*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer  for this artwork.

Pulp Friction

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 1100  ×  700 px at 10 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *My Best Friend's Wetting*

2. MP4 (h.264) display copy of *My Best Friend's Wetting*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

My Best Friend's Wetting

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 721 × 700 px at 10 frames 

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Missionary Impossible*

2. MP4 (h.264) display copy of *Missionary Impossible*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

Missionary Impossible

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 402  ×  700 px at 10 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *I Know Who You Did Last Summer*

2. MP4 (h.264) display copy of *I Know Who You Did Last Summer*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

I Know Who You Did Last Summer 

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 424 × 700 px at 15 frames 

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Assablanca*

2. MP4 (h.264) display copy of *Assablanca*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

Assablanca

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 1058 × 700 px at 20 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *How I Wet Your Mother*

2. MP4 (h.264) display copy of *How I Wet Your Mother*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

How I Wet Your Mother

**Series**: *Honey, I Blew Up My Tits* (2021)

**About The Installation**:
In *Honey, I Blew Up My Tits*, Lorna Mills deploys her signature technique of video deconstruction and pixel ripping to create jarring tableaus that denature the appropriated material’s original meaning and recontextualizes it in her fastidious compositions that are uniquely rooted in the artist’s pitch-black humor. Created in a gesture of good faith, Mills extends this pornographic moving image frieze as a sultry & scintillating offering to the new generation of avid NFT collectors.

**About The Artist**:
Lorna Mills (Toronto) has actively exhibited her work in solo and group exhibitions since the early 1990s, both in Canada and internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film and video, and obsessive online animated GIFs incorporated into restrained off-line installation work. Her quintessential moving image works rip apart found components from an extensive archive of net surfing treasures. By breaking these images away from their native video environments pixel by pixel, Mills is able to utterly decontextualize them and bend them to her devilish whims. Her work critiques consumption, representation, accelerationism, and nationalism as they are expressed and exaggerated through Internet culture.

**About The Purchase**:
The Token ID points to a display copy of the artwork. The full collector package, is exclusively available through a private link that can only be transferred via the previous collector, TRANSFER, or left.gallery.

**Medium**: GIF

**Dimensions**: 515 × 700 px at 90 frames

**Edition**: 01/01

**Collector with private link will receive**:

1. GIF of *Flesh Dance*

2. MP4 (h.264) display copy of *Flesh Dance*

3. Owner’s Rights and Obligations  


**Preventative Conservation**:
Collectors are encouraged to retain a full archival package for this work, which can be requested from TRANSFER at the time of purchase and may include: thumb drives containing the work and exhibition copies, TIFFs of the individual frames of the GIF, and a certificate of authenticity signed by the artist. In lieu of the full archival package, collectors are encouraged to download and preserve the digital collector's package on at least two external hard drives of their choice, stored in two separate geographic locations. Files should be migrated to new external hard drives every 3-5 years.

**Display**:
Collectors should be mindful of resolution and size, so that they may avoid distorting the work. Under no circumstances can the file(s) be edited.  The work is permitted to be displayed in the collector’s home only, and online, in perpetuity. Lorna Mills views the work as a fragment of the installation *Honey, I Blew Up My Tits*, which was created specifically for TRANSFER’s exhibition, *Pieces Of Me* Therefore, the collector is not permitted to showcase the work in public installations without the artist’s expressed written permission and they cannot claim that the work represents a complete installation.

**Copyright**:
The Artist or their estate retains copyright of the work, and of all images of the work.

**Transfer of Ownership**:
The work and all contents of the collector package must accompany any assignment or sale of the work. The seller is obligated to confirm 50% of gross sale price has been paid to the artist Lorna Mills, and deliver the full archival package to the purchaser in order to complete title transfer for this artwork.

Lorna Mills

works 12