WHite Rabbit
Kris TateKris Tate constructs portraits through a rhythmic layering of graphic shapes and patterns that mirror the sonic textures of the 1960s. This piece honors Grace Slick, translating the psychedelic energy of Jefferson Airplane into a bold digital illustration that feels both sharp and hallucinatory.

WHite Rabbit
Kris Tate constructs portraits through a rhythmic layering of graphic shapes and patterns that mirror the sonic textures of the 1960s. This piece honors Grace Slick, translating the psychedelic energy of Jefferson Airplane into a bold digital illustration that feels both sharp and hallucinatory.
A meaningful share of this purchase goes directly to Kris Tate.
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Art Analysis
A Psychedelic Graphic Tribute to the Voice of Jefferson Airplane
This portrait serves as a graphic tribute to Grace Slick, the iconic voice behind Jefferson Airplane. Tate draws directly from the psychedelic inspiration of Slick’s music, using a limited color palette and stylish digital fonts to anchor the singer within a dreamlike space. The composition balances the raw energy of punk subculture with the structured beauty of graphic design, capturing the essence of an era defined by sonic exploration.
Through a fusion of abstract artistry and pop art influences, the work explores the growth of the human mind through the lens of music. Tate utilizes intricate patterns and sharp shapes to build a visually compelling image that feels like a modern artifact of retro tourism. It is a focused study of iconic imagery, where the portrait becomes a landscape of shapes reflecting the psychedelic spirit of the song White Rabbit.
The artwork uses vibrant color schemes and swirling patterns to suggest a state of mind beyond the ordinary.
The work utilizes bold graphic design to simplify complex themes into high-contrast, recognizable symbols.
The artist translates the heavy beats and lyrical depth of rap into a static yet vibrating image.
This work merges traditional landscape elements with a bold, illustrative approach to movement.
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