The perfect accelerationist: a hydra of data, capital, and violence.
Acceleration Hydra started as an attempt to make sense of a political moment that felt increasingly dominated by overlapping centers of power. I initially imagined a three-headed hydra inspired by political and technology leaders, but the painting quickly became a hydra of data, capital, and violence. As I worked, it accumulated American symbols—a monster shaped by American dominance in technology, capital, and warfare that keeps regenerating no matter which head you cut off. Looking back, this was also the beginning of an interest in remixing mythological imagery into modern myths.