CURRENT
NEW YORK CITY, 2026 —
GOAT is currently developing a new body of work in New York City, continuing his exploration of public space, contemporary urban life and emerging technologies.
Further details will be released as the project develops.
WE LOVE NYC
NEW YORK CITY,
2023–2024
AI-assisted image-making /
stencil / spray paint / public intervention
In March 2023, New York City introduced WE ❤️ NYC, a civic campaign created to restore a sense of connection and shared identity after the pandemic.
For GOAT, the most compelling part of the new message was the shift from I to WE.
While I ❤️ NY had become an international symbol of the city, WE ❤️ NYC felt like a message for the people living inside it — a reminder that New York is something experienced collectively. Coming out of the isolation of the pandemic, that idea became the starting point for GOAT’s next project.
GOAT began building his own visual language around it.
Using generative AI to develop the imagery, he created characters that belonged unmistakably to the streets of New York. Rats and raccoons became the recurring protagonists of the project — appearing on scooters, carrying signs, eating pizza, playing sports and responding to the constantly changing culture of the city.
Those images were then turned into handmade stencils and brought back into physical public space.
Over the course of the project, hundreds of GOAT’s rats and raccoons appeared throughout New York’s five boroughs, creating a loose cast of characters that people could encounter unexpectedly while moving through the city.
The street was not simply a place to display the work. It was part of the work.
People photographed the interventions, shared them, tagged GOAT and encountered other pieces independently. Instagram became an extension of the physical project, while growing public attention led to interviews, television coverage and wider media recognition.
The project also travelled. During visits to other U.S. cities, GOAT adapted its language to the place itself, creating location-specific variations including WE LOVE BSTN and WE LOVE MIAMI BEACH, alongside related interventions elsewhere in the US.
We Love NYC brought together several elements that would continue to shape GOAT’s practice: New York as an active participant, recurring urban characters, emerging technology, public intervention and the unpredictable circulation of images beyond the artist’s control.
AI helped create the image. The city gave it a life.
NFT ART 4 EARTH
NEW YORK CITY,
2021-2022
365-day public art project /
canvas / NFTs / social media
New York has its own mythology of accidental discovery — the possibility that something overlooked on the street might turn out to be worth keeping.
NFT Art 4 Earth turned that idea into a 365-day public art project.
GOAT created 365 original works on canvas and left them throughout New York City for unknown passersby to discover. Once a work entered the street, the artist gave up control over what happened next: it could be taken home, photographed, shared online, ignored or simply disappear into the city.
The recurring image was the sneaker — an object associated with fashion, desire and consumption, but also with the idea of the human footprint left on the planet.
The project emerged during a period of destructive wildfires and widespread forest loss. Each physical work had a corresponding NFT, with all intended proceeds from NFT sales designated for planting trees around the world.
The two parts of the project operated through opposite systems: the physical artwork was given away through chance encounter, while its digital counterpart was intended for sale in the emerging NFT market.
The NFTs ultimately generated no sales, so the proposed environmental funding was never activated. The physical project, however, was completed in full: 365 original works were released into the streets of New York.
Instagram became the project’s public archive, documenting the works, their placements and encounters with people who found them.
NFT Art 4 Earth established a working method that would continue through GOAT’s later practice: releasing art beyond conventional exhibition spaces, giving up control over its circulation, and using technology to connect a physical encounter with a wider public system.
PROJECT ARCHIVE
Instagram: @n.a.4.e