Michael A. Whitehead (b. 1994, Windsor, Ontario) is an anti-disciplinary artist working under multiple online aliases. His practice operates predominantly at a juncture of where art history becomes platform, exploring sculptural languages of digital manufacturing, image collapse and algorithmic desire. Working across blockchain, online intervention, video, drawing, and sculpture he appropriates avant-garde gestures and returns them as bootleg versions that expose how influence operates parasitically—aesthetic forms feeding on prior forms, ultra-contemporary content cannibalizing art history.

He views his work as “expanding vernaculars of vandalism and theft”. Installations function as dependent biological systems that steal from institutional infrastructures, sculptures function as content vehicles which lift the forms of old avant-garde gestures. His video and blockchain work excavates the digital abject: algorithmic slop, deep-fried abstraction, memetic folklore and the rot of overproduced imagescape. Iconoclasm is a treated as a methodology of secular meaning production, revealing institutional critique as consumable content subject to the same reproduction and entropy as mass-produced commodities. Whitehead has exhibited at Arebyte Gallery (London), Museum of Naïve Art, Paris, France and BSMNT Gallery (Leipzig). He has received several grants from the Canada Council for the Arts. He lives and works in Montreal.