Parker Ito is a Los Angeles–based artist who has worked across painting, digital media, installation, and NFT since the early 2010s. He is the most institutionally credentialed figure active in the Solana avant-NFT scene, with exhibition history at the New Museum, Whitechapel Gallery, the Stedelijk Museum, and representation by Rose Easton gallery in London. On social media he uses the handle @CreamyDreamy.
Ito’s long-standing subject is the visual culture of the internet: how images circulate, degrade, and accumulate meaning through repetition and misdirection. His early paintings (2010s) treated screen-grabs, browser windows, and digital artifacts as painterly material. Monk Antony traced a direct visual genealogy from those paintings to the traitmaxxing and schizocollage idiom in a September 2025 thread: “it’s not hard to squint and already see traitmaxxing and drilady in @CreamyDreamy’s 2010 paintings.”
In 2024 Ito entered the Solana NFT ecosystem with Driladys, a playful reference to the X account @dril and the “ladies/fellas” subcultural naming convention. The work was collected on Solana and discussed on the Verse Works podcast and in the Grey Area Labs essay on the “Avant Gay” movement. His entry gave the scene a bridge to the gallery world: Solos Gallery exhibited his 2024–2025 project The Pilgrim’s Living Room Crucifixion; Mona Lisa Hyper-Gamble, described as “a flickering stream of consciousness” of digital works entangled by recurrent motifs and visual glitches.
Unlike Evil Biscuit or Spiky DJ, Ito does not descend directly from the Remilia/Milady lineage. Grey Area Labs described him as arriving “after observing the scene,” which makes his position observational rather than genealogical. This distance — institutional credentials without Milady inheritance — is one reason the scene’s second anchor figure is not a straightforward choice.
In April 2026 Ito is still producing work at speed. He tweeted scans of 2005 polaroids of bougainvilleas from a childhood home for “Fashion Terrorist,” a ten-piece collection made for a show curated by @sssluke1 (images show table legs, floral arrangements, and fabric folds treated as compositional material). In the same period he tweeted directly about a new “Drilady” image, posted multiple Drilady preliminary studies, and shared Brian Droitcour’s “Gay nft essay” in Spike Art magazine. His April feed is a running document of a working artist embedding himself in a scene he did not found.
The work moves between Solana and Ethereum: a late-April tweet asks followers, “should I do these SOL or ETH?” His production is process-public — he posts sketches, retweets peers, shares magazine coverage, and reveals the mechanics of collection-making as it happens.
Ito collaborated with ZIEN on a 2023 project where collectors minted digital compositions as NFTs and later redeemed them for Chinese-factory oil paintings delivered to their doors — a collapse of digital and physical artifact economies that prefigures the schizocollage scene’s own interest in ceramics, plush, and 3D-printed extensions.
| Year | Work | Medium | Context |
|---|---|---|---|
| ~2010 | Internet painting series | Painting | Screen-grabs, browser windows |
| 2023 | ZIEN collaboration | Digital → oil painting | Chinese-factory redemption |
| 2024 | Driladys / Drilady | NFT | Solana entry; @dril reference |
| 2024–25 | The Pilgrim’s Living Room Crucifixion; Mona Lisa Hyper-Gamble | Digital installation | Solos Gallery |
| 2025 | Monk Antony genealogy thread | Critical writing | Traitmaxxing traced to early paintings |
| 2026 | ”Fashion Terrorist” | Polaroid scan collection | Ten-piece series for @sssluke1 show |
| 2026 | Drilady (preliminary studies) | Digital | Posted April 2026 on X |