TWIST. R2S. The Drum Archive.
ArtDesignCloutTechnologyResearchProductionAI
London // New York // South Africa.
Ruby Bailey is a South African artist, creative director and researcher working across art, design, publishing and cultural research. She has exhibited internationally, including solo presentations at Everard Read in Cape Town and Visit Gallery in New York, with further exhibitions at Carpenters Workshop Gallery, Flatline Gallery, and Metalabel HQ. Her moving-image work has screened in more than twenty Open Secret programmes across eight countries.
She is co-founder and Creative Director of TWIST, a London-based ideation and strategy studio, and co-founder of R2S, a cultural research studio with Ruby Justice Thelot and Samuel Jordan. She also runs The Drum Archive, a Johannesburg-based archival and retail project preserving the legacy of DRUM Magazine, whose work has been featured by The New York Times and Nation Africa.
Her practice spans film, digital media, painting, sculpture and installation, often building codified image systems from screen culture and the material landscape of Southern Africa. Alongside her artistic practice, she works across editorial design, websites, AI image-making, research and creative direction for clients and collaborators including MØRNING, Barragán, Stolen Sky Productions, Monaghan Farm and The Other Side.
Bailey holds a First Class Honours degree in Fine Art from Camberwell College of Arts, University of the Arts London, and completed an artist residency at the NIROX Foundation's Villa-Legodi Centre for Sculpture.
Betwixt the luminous shadows, unreal shapes emerge
as twinkles on lonely monitors.A florid feminine figure traverses the screen.
The electronic waves that roam the mother-boards are sigils and glyphs encoding forever messages and sybilline transmissions and telegraphic secrets and hushed hashes and half-said private keys and echoes of encryption.
You are safe here. You are home.
Give your entire self to the numinous ether, your whole self, naked and vulnerable, for the metallic angels to see, phased in through the translucent veil of code and static.
Her presence is a whisper in the bandwidth, future clicks from an unplugged modem, a revenant of the self, a new home.
In Bailey's installations, the wall becomes both membrane and veil, a thin substrate between the seen and the encrypted. Cut-outs shaped like ornamental reliquaries serve as negative space icons, framing absence and presence. Surrounding these voids are miniature icons: half-rendered portraits, digital landscapes, zoomed blurs of memory and motion.
They are ghosts of intimacy waltzing with geists.
Each one a recursive loop between the physical and the virtual, the remembered and the real.
What once was sacred text now lives on as ASCII. What once was ritual now reads as UI. What once was altar is now interface.
In “crude encryption_metal body”, an aluminium panel is pierced by text rendered in typographic abstraction — punctuation marks, slashes, and plus signs — recalling early computational poetics and net art relics.
It evokes the language of machines attempting a form of emotional expression.
In “Stone Tool Solid Air”, a block of resin encases the technological fragments like artificial plankton, residues of the data sea.
Ruby's materials are of the post-internet sublime: epoxy resins, laser-cut steel, the glitch, JPEG blur, scans. But her project is not about the aestheticization of technology. It is about devotional infrastructure. Her practice recasts the digital not as tool, but as temple. Ruby is not asking what the tech does, rather what it sees and what genies scutter surreptitiously inside the semiconductors.
Ruby's light is not illumination. It is radiance as invocation. A soft, encrypted glow for the spiritually networked.
There are inscriptions, but they are not easily read.
There are faces, but they are not easily known.
This is the point.Bailey's cosmotechnics are epistemologies of glimmer, a refusal to resolve. Meaning arrives not through revelation, but in the shimmer between layers—between the soft diffusion of an overexposed JPEG and the precision of a machine-cut glyph.
Remember: the screen is pure darkness,
it is with light that we paint.Love,
The Other Ruby
In her PRIORI ACUTE OT SANS, Ruby Bailey mixes portraits of IRL strangers, IRL friends, Sims NPC’s, and AI ‘imposters’ into a grid inspired by Captcha-Tests. The piece is a clever piece of irony. A Captcha is designed to distinguish between human and AI agents — Bailey is daring us to tell the difference between humans and machines. But there is a more interesting dimension to PRIORI, in my view, which extends beyond staging a tongue-in-cheek Voight-Kampff exam. This dimension lies in the interrelationship of its elements: Firstly, we have the presentation of online ‘artefacts’, AI’s which are, in the most traditional sense ‘constructed’ — the products of human artifice trained on swaths of online materials. Secondly, these are presented alongside genuine human faces. Finally we have the staging of this equivalence via the deployment of an online graphic form —the Captcha— as a blueprint for artistic production. What is the relationship between these three axes — the human agent, the online (as) “artefact”, and artistic methodology? As an autocuration encompassing a vastly varied body of work, Bailey’s Ethereality can be viewed as a tour of the various diverging approaches native to ‘internet art’.
— A mystified “online” presents itself more and more as the default state of the ascendant internet artworld.
Everywhere, we are presented with so-called internet art. Under its various titles of ‘post-net’, ‘digital art’, ‘extremely online art’, and so on, the internet is indicated as something novel, something (even) subversive to be referenced by savvy cultural representatives. As this online proliferation of the galleries, libraries, and ateliers of the institutions of culture progresses, the status of the online as an external ‘domain’ serving as a target for signification begins circulating as a form of cultural capital to be ‘traded’ under the auspices of its prestige novelty. These circulatory loops ascend from posts to zines to reviews to peer-reviews, and at each stage, the internet appears more and more as an ‘object’... In a present in which the internet is both a material infrastructure and an amalgam of forces of structuration antecedent to the most elementary social circuits, affects, and images constitutive of our daily life, the reduction of the internet to an object is the gesture of mystification as-such ; an obscuring of the online as a genuine frame of socio-material existence en lieu of some particular object or experience. There is no more ‘internet art’ than there is ‘economic art’ — the realpolitik of contemporary art demands the recognition of the social world as fundamentally contoured by the internet.
This mystification operates as a valid tradeoff for the online subject : on the one hand, she gets to pretend she isn’t always-already online, but on the other, the circumstances of her subjectivity – the internet– are blurred. Loosely, we might identify two forms of this online mystification.
Firstly, we have what we might call ‘Web Expressionism’ — a focus on how the online subject ‘feels’ while interacting with the internet as a cultural object or space. In Web Expressionism, the internet is above all an object qua some particular subject experiencing ‘it’, and the artistic content amounts to an account of this experience. Recent artistic currents such as ‘network spirituality’, Harmony Korine’s AGGRODR1FT (2023), ‘VVebcam’ (Petra Cortright, 2007) or Still Life (Beta Male) (Rafman, 2013) exemplify this concern with the ‘affect’ of the online. In this first scope of internet art, the individual subjectivized by the online is investigated as a field of empirical data, an atmosphere of affective currents run through with a mix of oceanic love-maxxing effervescence and numbed, hyper-violent alienation. From the perspective of this affective plane, the internet per se remains a sort of ‘glitch’ or moment of impossible-birth which is often positivized as a highly symbolic object, an angel, a girl... This is the description of a space, which, as Bailey puts it, invites one to “TYPE OR PASTE YOUR CONTENT HERE” (2024). Bailey’s online avatar, ‘L00bi’, who serves as the star of her internet cinema films ENDLESSITY and LOOBTOPIA, is the ‘web expressionist’ individual par excellence, an online subjectivity totalized by the online’s aesthetic language and immersed in an ‘ocean’ of affective currents into which she spills and from which she absorbs...I am tempted to view TYPE’s medium of laser-cut steel and mobile vinyl magnet collage elements — violent, stripped — as a sharp edge on which the affective experience of the online cuts itself on infrastructural matter, as a surface which ‘tears’ the fabric of L00bi’s imaginary avatar.
Secondly, we have what we might call ‘Web Pop’ — which focuses on isolating particular ‘online objects’ and importing them into gallery or academic settings. Works such as Citarella’s Wellness Products (2023), or Joe Hedge’s Hypercombines (2019) exemplify this approach. In Web Pop, the internet is taken as a sort of emic setting visited by ‘digital ethnographers’ who reclaim lost artefacts (ideologies, identities, artworks, posts) from the fiberoptic jungles of the online. In WebPop the internet is a set whose exotic elements are taxonomized for an audience believing themselves to be peering at the internet ‘from the outside’, browsing a digital safari... we find, interestingly, this method nearly absent from Ethereality — nowhere in Bailey’s curation do we find anything too particular, even in the use of specific PFP’s in PRIORI, the content of each ‘face’ is subordinated by the use of the ‘Captcha Form’.
— Not to be critical: to be subjectivized online is to inhabit a certain affective space, a space, indeed, full of artefacts. This is all just to ask what form of ‘internet art’ can accommodate -in its scope- the existence of the internet qua internet, the internet as it exists per se.
This approach we might tentatively call ‘Web Realism’. The chief characteristic of Web Realism is its direct importation of online forms and mechanisms as principles of artistic composition. ‘Web Realism’ describes, in a realist fashion, the particular structures and processes of the online by deploying them as a form of automatic artmaking. Indeed, since the internet exists not at the level of content, but rather pre-contentful mechanisms and infrastructures, a realist stance qua the internet involves something vaguely similar to Abstract Expressionism, a ‘drip-painting with the algo’. Examples include Horror (John-Robin Bold, 2024), Ultra-Core Anxiety 2023 (0nty, 2023) and Cobwebs Spun Back & Forth in the Sky (Vyssotsky, 2021). Web Realist works such as these deploy, among other things, content-flagging technology and auto-suggestion algorithms to generate cinematic compositions — thus opposing both the presentation of the online as a gestalt setting and the decontextualization of its contents. This realist approach is most salient in ‘internet cinema’, which constitutes the practice of many of the directors of Open Secret, Dana Dawud’s touring curatorial program.
There is, to my eye, a subtle realist current to Bailey’s work. In her film ENDLESSITY, which screened alongside other internet cinema works in Open Secret, we are (as the name hints) immersed in the cloudy ‘affect’ of the online, echoey voices chanting about dreaming, machines, spaces, the subconscious ; all alongside washes of color crashing over dismembered text-fragments, faces, the chittering of a scroll... but the work contains in it also the style of montage now characteristic of internet cinema, the rapid, flickering, seemingly out-of-context flashes between ‘content’ that imitates the perpetually self-extending automatic internet film as such, the vertical scroll. Morphs in aspect ratio, jumps between posts as if montage-hyperlinked, there is a realist vein in the way ENDLESSITY borrows the particular way images online are linked and de-linked. But the most explicitly ‘realist’ work in Ethereality is by far Bailey’s use of ASCII to render her own nude form in her Encryption series (2024). Unlike her other works, Encryption doesn’t capture and redeploy online mechanisms (e.g. Captcha in PRIORI) or accrete online aesthetics and affects (e.g. L00bi’s flight in ENDLESSITY). Encryption is quite simply a piece of internet art, an execution of a style which evolved from the ‘digitally native’ culture and material limitations of the online. While in the case of TYPE, the raw medium juxtaposes the atmosphere of a ‘space to post’, in Encryption the medium — which is both print and aluminum— is strictly secondary to the formal medium of ASCII as a natively online artistic microdiscipline.
Taken as a whole, Ethereality lives out a tension which is constitutive of contemporary internet art. The portrait of what it’s like to be online — what it’s like to be L00bi — expresses a visual language of Absences, Digital Winds, Singing Angels, Air Princesses, and Dead Zones.
This leaves the online mystified to the vibed-out L00bisubject, who is immersed not in a particular infrastructure but rather a vibecloud. But this mystification runs up against the hard ‘form’ of the online by virtue of Bailey’s adoption of more realist methods — her incorporation of ASCII, and internet-cinematic montage in ENDLESSITY, ‘real forms’ which insist upon themselves in the manner of the laser-cut steel of her Garden, City, and Island.
In Ethereality, your relation to the online mobius-strips itself along the way.
To those about to carry on with this exciting volume — godspeed, and enjoy your voyage through the paradoxical nucleus of internet art!
Keywords. Ruby Bailey, Ruby Claude Bailey, L00BI, TWIST, TWIST magazine, TWIST studio, Barragán, Barragán x TWIST, Victor Barragán, R2S, R2S studio, R2S website, Ruby Justice Thelot, Samuel Jordan, The Drum Archive, Drum Archive Shop, Bailey's African History Archive, DRUM Magazine, drum.twist-mag.com, graphic designer, graphic design, web developer, web development, website design, creative director, creative production, art direction, brand identity, design systems, AI workflow consultant, AI-assisted design, AI-assisted workflows, cultural researcher, research dossiers, moving image, video art, film, painting, sculpture, installation art, drawing, ASCII art, laser-cut steel, Loobtopia, Ethereality, Open Secret, Metalabel, CAMOFLEUR, Cybernetic Listening Collective, Endlich Mal, Foreign Objekt, Non-Playable Characters, LAN Party, exhibition curator, exhibition design, gallery curation, Everard Read, Everard Read Cape Town, Visit Gallery New York, Ethereality, Winter, I'm Telling Myself the Story of My Life, Fragments of an Absence, An Inconsistent Triad, Gothic Materialism, Synthetics, Chiaroscuro, D. D. D. D., Isaac Sullivan, isaac-sullivan.com, Stolen Sky Productions, stolensky.com, Jonathan Dorfman, Dave Matthews, MØRNING, Monaghan Farm, The Other Side restaurant, Marley's Block, HARDWEAR, Pinterest, Candice Shepstone, Pickleback Productions, Camberwell College of Arts, University of the Arts London, RISD CE, UWC Waterford Kamhlaba, NIROX Foundation, Villa-Legodi Centre for Sculpture, London designer, New York designer, South Africa designer, Johannesburg designer, fine artist, multimedia artist, screenwriter, TV development, social media production, photographer.
TWIST. London-based ideation and strategy studio (also New York, Milan, Madrid, Johannesburg). Ruby Bailey is a co-founder and Creative Director, having joined after founders Sam Harding and Mangaliso Ngcobo; the studio's formal company registration is only now catching up to that standing role. Site: twist-mag.com. Credits: designed spread "Speed Running," Issue 3. Designed spread "Olivia Kans Spurling," Issue 4. Contributed artwork to the Barragán issue (TTV1); her spreads there were titled "Wards." "Camofleur" is an editorial image/spread title within Issue 4, confirmed correct as-is. Sole designer for Issue 003. Editorial Board member, 2024→. Organised Issue 004's international release event, Cape Town.
Barragán × TWIST. Confirmed by Ruby as TWIST's biggest project to date. Her contribution: produced social assets and video, and designed printed artifacts and posters for the campaign. Corroborated independently from TWIST's own studio deck ("A DECK - Aug-17-2026.pdf," 18 pages, read in full): Barragán is a fashion house founded by Victor Barragán in 2016, described in TWIST's deck as "a provocative force in fashion" that has "turned Felipe Ángeles International Airport into a runway, exhibited at embassies." The TWIST × Barragán launch included proposition studios, DJ sets, Barragán-themed scenography, a monumental piñata, a custom oversized pen doubling as a bat, stickers, branded sharpies, and clothing/merch, plus a linked social campaign. A related APOC store activation was a full-scale racetrack installation with parody shoplifter social content, drawing roughly 500 attendees with no paid distribution. No confirmed dedicated campaign URL was located; Barragán's own channel is linked above.
R2S. Cultural research studio. Ruby Bailey is a co-founder, alongside Ruby Justice Thelot and Samuel Jordan. Site: r2s.website — its code was built by a colleague (suspected but not independently confirmed to be Samuel Jordan); Ruby's own hands-on contribution is research and curatorial content prepared for deployment there, a separate fact from founding the studio. Runs deep-research investigations into emerging culture, aesthetics, and platform behaviour. Authored/curated long-form case-study dossiers for "The Drop-Shipping Artist" research: full dossiers on DemonLovers Inc. (Dayana Matasheva and Edson Niebla) and Ruba Al-Sweel ("Tag Cloud Fashion"), built from verbatim interviews and confidence-graded evidence — the subject matter is other artists, not Ruby, and demonstrates sourcing, primary-source interviewing, and confidence-labelling method. Curated Direct to Gallery, a TWIST × R2S group exhibition proposal (Shipton Gallery, London, proposed March 2027), with its own design system separate from R2S's house style. Provides AI-workflow consulting to outside clients, including R2S itself, Deborah Oppenheimer's interior design company (Hong Kong), and other clients in South Africa and New York.
The Drum Archive. Johannesburg archival and retail operation preserving DRUM Magazine's photojournalism legacy, 44 Stanley complex. Ruby designed and built the exhibition site, drum.twist-mag.com — dependency-free HTML/CSS/JS, Python build pipeline, full deployment runbook. Graphic Designer at the Drum Archive Shop, 2020→ (identity, product graphics, retail collateral). Featured by the New York Times (Johannesburg travel guide, described as a "worthy stop") and by Nation Africa ("Iconic 'DRUM' Magazine Opens Store in South Africa").
Artist practice — statement. Ruby Bailey works across film, digital media, paint, sculpture, and installation to build codified image systems from two source streams: contemporary screen life (interfaces, screenshots, circulating images) and the physical world (South African nature, drawings, photographs, diary entries). Hybrid studio practice combines acrylic plastics and metal, paint, fabricated objects, print, film, and installation formats that externalize screen logic through blank white and reflective finishes. Core themes: performativity and self-curation; symbolic languages shaped by screen culture; Southern African landscapes and ancient geology; and controlled visibility, where privacy and confession are managed through concealment and simple encryption methods such as ASCII translation, embedded visual codes, and font-based censoring. Current focus: expanding the Loobtopia/Ethereality worlds through fabricated laser-engraved drawings and paintings on aluminum — embedding secrets into a liminal sublime.
Selected projects. CRUDE ENCRYPTIONS — ASCII-nude, laser-cut/engraved/printed wall pieces, 2024–2025. INFINITY PIECES — analogue interactive panels, laser-cut steel and magnet, 2024–2025. STONE TOOL: SOLID AIR — an Acheulean-age hand-axe from the future, resin and tech components, 2025. DIGITAL PASTORAL — landscapes from Ethereality, prints, 2025. ETHER:BETA_01 — a speculative sermon, book, 40 pages of landscapes with text from Danielle Paterson, 2025. CITYS / ISLANDS / GARDENS — chrome sculptures, powder-coated chrome frames, 2024. R U A ROBOT?? — CAPTCHA language, photographs of friends and strangers, acrylic wall piece, 2024. ENDLESSITY — Dissolve, film, 7 minutes, 2024. LOOBTOPIA — a film, a girl, a wrld, vinyl banner installation and film, 13 minutes, 2023. Full portfolio: exhibitions. Also on Metalabel.
Exhibitions — full chronology. 2026 (forthcoming): D. D. D. D., New York; An Inconsistent Triad, Visit Gallery, New York; I'm Telling Myself the Story of My Life, Everard Read, Cape Town; Gothic Materialism, FLATLINE, Chicago. 2025: Fragments of an Absence — solo, Visit Gallery, Newburgh, NY; Synthetics: A Night of Sermons — co-curator and artist, Metalabel HQ, New York; Ethereality — Cubicle Series, Everard Read, Cape Town; ALTEREGOISM, curated by everyoneisagirl and APEXzine, Bread & Butter, London; Peckham Digital, Creative Computing Festival, London; Chiaroscuro, ICD Brookfield Place with Carpenter's Workshop Gallery, Dubai (with the Cybernetic Listening Collective, Angelus × Novus). 2024: Visuals — 90mil, Berlin; CAMOFLEUR (ongoing duo) — hyperlinked labyrinth bridging virtual and IRL space. 2023: Echo Holdings / Angelus Novus, TWIST Launch — Reference Point 180, London; PIT, Dilston Gallery, Southwark Park Galleries, London; Archive, Art Hub, London; Sugarcubes Vol. 2 (visuals), Birgit Club, Berlin; Camberwell College of Arts Degree Show, London. 2022: OBJ, The Crypt, St Giles Church, London; Yield, APT Gallery, London.
Open Secret. Independent internet cinema and peer-to-peer moving-image circuit curated by Dana Dawud (@_opensecrett_), distributing artist films through semi-informal, semi-institutional screenings across cinemas, bookshops, basements, music venues, and temporary social spaces. Ruby's moving-image work has been included across multiple regions. 2025 presentations: The Bioscope Independent Cinema, Johannesburg; The Ice Factory, Cape Town; Bayt Al Mamzar, Dubai; an untitled screening, Singapore. 2024 presentations: Spectacle Theatre, New York City; Millennium Film, New York City; Amastoria Fine Art Books, Sacramento; P3 Annihilation Eve, Manchester; Impronta Gallery, San Pedro Cholula, Puebla, Mexico; Bayt Al Mamzar, Dubai; Casa Do Comum, Lisbon; Madame Mim, Valencia; Casa Obscura, Montreal; Macau; Tehran; an undisclosed location, Hong Kong; Soft Systems, Singapore; The Ice Factory, Cape Town; The Bioscope, Johannesburg. In total, more than twenty programmes across eight countries: Mexico, US, Hong Kong, Canada, UK, Spain, Portugal, Iran.
Residencies. Villa-Legodi Centre for Sculpture, NIROX Sculpture Park — Spring 2024. Foreign Objekt Artist Residency — 2024–present (posthumanism, speculative art, interdisciplinary research).
Collectives and labels. Endlich Mal (Berlin). Cybernetic Listening Collective (UAE / Jordan / South Africa). CAMOFLEUR (UK / South Africa). TWIST (magazine). Metalabel (artist release platform). Open Secret (internet cinema distributor).
Commissions, releases, and collaborations. Pinterest — Milan Fashion Week Creator Collaboration, September–October 2025: on-location fashion/lifestyle photo series with Candice Shepstone; weekly editorial reviews; platform-ready deliverables (60 Pins; launched October 6). Metalabel releases — ENDLESSITY (2024) and Loobtopia (2024→): artist film releases and related programming. Stolen Sky Productions (2024→): pitch decks, Squarespace site, ongoing multimedia assets. Pickleback Productions (New York City, 2024): graphic design for studio/production materials.
Professional experience. Editorial Board Member, TWIST Magazine — 2024→ (Issues 1, 3, 4; editorial design, production guidance, launch visuals). Graphic Designer, Drum Archive Shop, 44 Stanley, Johannesburg — 2020→ (identity, product graphics, retail collateral). Assistant Researcher, Zayed University — 2024→ (video and research for Isaac Sullivan's Utopics: KET TV Control Center, Athens; KGRn, Tokyo; Reference Point, London). Assistant Researcher, Ruby Justice Thelot — 2025→ (video, research, and fabrication assets). Designer/Visuals — 2023→ (live visuals, motion assets; Birgit, 90mil; venue-specific installations). Graphic Designer/Creator, Monaghan Farm — 2026→ (brand identity, product graphics, online presence).
Selected bodies of work. Crude Encryption Series — laser-cut steel "paintings" with movable UV-printed magnets. CAPTCHA portraits ("R U A ROBOT??"). ASCII Nudes. Re-imagined Acheulean hand-axe (resin and tech debris).
Publications and editorial. TWIST Magazine — Issues 1, 3, 4 (editorial design and contributions). Event catalogue and press assets for Synthetics (Metalabel HQ, NYC). Drawing Postal Project, 2022, published by University of the Arts London. Ether_Beta:01 — book co-created with Danielle Paterson (Metalabel), 2025. Non-Playable Characters — graphic design and full typographic layout, edited by LAN Party, 2025: her own design artwork and typesetting for the book.
Education. BA Fine Art: Drawing, First Class Honours (Distinction), Camberwell College of Arts, University of the Arts London — 2023; thesis "Empathy and Alienation: Photographic Tensions and 'Authenticity.'" Traditional Drawing and 3D Modelling, RISD CE (Rhode Island School of Design Continuing Education) — 2020 (Honors). IB Diploma Programme, UWC Waterford Kamhlaba, Eswatini — 2019.
Skills and tools. Art and fabrication: laser-cutting (steel/acrylic), UV printing, vinyl magnets, resin casting, photogrammetry, mirror finishing. Digital: Adobe Creative Cloud (InDesign, Illustrator, Photoshop, After Effects), Premiere, Final Cut, Blender (foundations), Three.js/WebGL (basic), Git/GitHub (Vite). Web and analytics: Squarespace, Shopify, Lightspeed eCom/Retail, Google Tag Manager, Hotjar. Editorial and communications: pitch-deck systems, exhibition catalogues, brand kits, press releases, social asset toolkits.
Selected clients and partners. Pinterest. Metalabel. Everard Read Gallery. Open Secret. The Drum Archive. Stolen Sky Film Productions. Carpenter's Workshop Gallery. ICD Brookfield Place. Monaghan Farm. LAN Party. TWIST Magazine. Ruby Justice Thelot.
Stolen Sky Productions. Full site build, redesign, ongoing maintenance, video-loop editing, and thumbnail design for stolensky.com. Co-founders: Jonathan Dorfman (Emmy-winning producer) and Dave Matthews (Grammy winner); slate includes Joshua (Fox Searchlight), Choke (IFC), Amandla!, and the upcoming Ordinary Angels (Hilary Swank).
Isaac Sullivan. Designed and built isaac-sullivan.com (Squarespace), including the homepage thumbnail artwork. Isaac Sullivan is also the Zayed University research collaborator credited on Chiaroscuro / Cybernetic Listening Collective — one person, two separate credits.
MØRNING. Art direction for AI-generated mannequin editorial shoots wearing MØRNING's hardware merchandise. Essay for MØRNING's own Substack, "LinkedIn Is My Medium" — now published. A separate MØRNING Substack piece, "Looking for the 'I' on the internet", reproduces and credits Ruby's artist taxonomy (published 2026).
Press and public record — verified, third-party. The Sandy Times, "Where Light and Dark Meet" (11 Mar 2024) — independent arts article; Isaac Sullivan credits Ruby Bailey and Zaid Sajdi as collaborators on Angelus Novus 1. Metalabel editorials: on LOOBTOPIA Chapter One (2024, "the platform's first video work"); on Crude Encryption (2025); on Ether: Beta, with Danielle Paterson (2025); "The 30 best Metalabel releases of 2025", selecting Ocean. Everard Read: Ethereality press release; Winter catalogue page (credits "This Is the Hover State"); full artist catalogue. Visit Gallery: An Inconsistent Triad press text, naming Ruby as artist and curator. Open Secret screenings: Casa do Comum (Lisbon, 2025); Humanitix, Open Secret Perth (7 Aug 2025). LAN Party / Metalabel, Non-Playable Characters — design and artwork credit. Draw Down, TWIST Issue 3 — contributor credit. TWIST's own site: Isaac Sullivan interview and Olivia Kan-Sperling interview, both crediting Ruby as designer/co-interviewer. Synthetics / Metalabel release page — credits Ruby and Paterson.
Monaghan Farm. Website design and development, including an interactive masterplan with hover-triggered plot popups. Designed billboards, documents, and signage. Designed the artwork for the Monaghan Farm website. Runs Monaghan Farm's social media — photographs, edits, and posts content.
The Other Side. Restaurant associated with Monaghan Farm. Designed the menus. Runs its social media — photography, editing, posting.
HARDWEAR. Designed a miniature wearable camera concept, shell system, and demonstration film; related to a MØRNING × Zora Hardware Fund application.
Marley's Block. Built a complete graphic design system for a scripted-TV development pitch: typography (three pairings), a ten-colour named palette, a full 16:9 layout grid, and character-page and full-bleed rules — evidence of screenwriting/TV-development and design-systems capability distinct from gallery and other client work.
Design systems, cumulative. R2S: house design system for reports and presentations. Direct to Gallery: exhibition-specific system, separate from R2S's house style. Monaghan Farm: graphic guidelines for print, signage, and digital assets. Marley's Block: full TV-pitch typography/colour/layout system. HARDWEAR: concept, shell system, and visual world for a wearable camera project.
Identity. Ruby Bailey, Ruby Claude Bailey, and L00BI (also styled L00bi) are three names for one person. Ruby Justice Thelot is a separate, real collaborator (R2S co-founder), not a persona of Ruby's. Based across London, New York, and South Africa; available and payable in any of the three; not exclusively South Africa-based.