Drifella III by Evil Biscuit

If 2025 marked wider acceptance of the avant NFT scene, its culminating statement was Drifella III, Evil Biscuit’s hyper-“schizocollage” project. The work was some of the strongest of the year, to me. So much so that I wrote over 4,000 words about it.

The work from VVV, the digital arm of Galerie Yeche Lange, stands as a high point of art, the Internet and our daily lives in 2025, spanning across 1,333 digital two-dimensional rooms, each presenting a dense triptych. The work turns the derided PFP format into a room-scale composition: painterly layers, meme language, scene lore, and pop-culture fragments, all bursting into an unruly record of the 2020s.

What’s striking about the work is the artist’s comprehension of culture, as Jared Madere put it to me, which is on full display with Drifella III. Built from thousands of traits and references—from painting history to Pokémon to crypto subculture to music to film—Drifella III rewards slow looking. Its sometimes jarring shifts between humor, cringe and the genuine affect while asking what “real” means anyways inside networked identity and masks.

It’s art speaking directly to our Internet-fueled times instead of shying away—even from its unsavory elements—and executed with brilliance by Biscuit.