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Lowbie and Duc de Berry on LOG and the NFT-to-Zine Pipeline

Artists Lowbie and Duc de Berry discuss the origins of LOG, their small-batch art zine, with VVV. They cover the zine tradition, the NFT-to-zine pipeline, curating a scene and why two artists who live online turned to print.
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VVV: How did you two meet? At what point did "we should make something together" turn into LOG?‍

Lowbie: I was obsessed with Duc’s work because he appeared completely out of nowhere in the scene with previews of Scrapbook Illuminations in, like, 2024?

‍Duc de Berry: Hahaha, I’m praying I manage to realise the most long-suffering project of my life. (It will be worth it (it will be worth it)).

‍Lowbie: It will be. Anyway, Duc had a show in London in 2025 and we ended up hanging out there. I took a girlfriend of mine to it; she didn’t understand what I’d been doing with NFTs and thought it was all, in essence, pointless.

‍But after she saw the show and the convergence of the stuff I talked about in a traditional art setting, I think she got it and thought me less of a loser than she did previously.

‍Duc de Berry: I hadn’t met anyone from the scene IRL before and Lowbie and I ended up talking almost nonstop for the duration of my opening. His friend was like, “You guys need to hang out again.”

‍Lowbie: We kept in touch and then met up for a drink just as I was about to start my new full-time corporate job. It was probably just before I crashed out and disappeared for a couple of months. I was super burnt out and knew I wanted to do something physical. I wanted to work with other artists rather than make my own work for a bit.

‍‍Duc de Berry: When we met at the pub, I’d had a work day from hell and was covered head to toe in white emulsion paint. We sat down and Lowbie gifted me a postcard-sized drawing of an angel. That was when LOG was really born.
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‍VVV: The first zine started as a 1/1, a single copy just for yourselves to figure things out. What did actually making that object teach you?

‍Lowbie: I’ve been making zines for years with a couple of short-lived, self-publishing projects under my belt. I’ve also always been an avid collector; I love their ease, affordability, beauty. I’d been obsessed with drawing angels as a way of practicing my drawing so probably would’ve made this zine anyway. But we needed placeholder images and a way of testing the format we’d eventually land on adopting for all works going forwards.

‍‍Duc de Berry: In a physical medium, making and putting things together is the first port of call to really develop your ideas and generate new ones. Knowledge of the constraints of the medium gives rise to its specific potential.

‍VVV: Why the name LOG? And the handle (@l______o______g)? What's with the gaps? What was the moment during those months of work where you thought, “Okay, this is real now?”

‍Lowbie: Did we come up with that immediately at the pub? It just instantly stuck. It stands for London Offsite Gallery, with all our ideas stemming from wanting to find a way to do offsite shows. We’ve both been really obsessed with Pirates of the Carbomb Infantry, a “gallery” that does all its self-produced artist shows through photos on Instagram. I’ve also always loved what Solo Show is doing since Terrorism introduced me to that world.

‍‍Duc de Berry: It’s a sort of cheeky name. We don’t have a gallery for anything to be offsite from. Offsite shows are often a tactic for commercial galleries to signal coolness, capitalising on the lo-fi effect without diverting from a traditional gallery model.

I used to run a project space from 2020 to ‘22 and since then there’s been a cascade of new spaces and offsite-style shows. They are often heavily galvanised via Instagram, the logical conclusion of which is something like Pirates of the Carbomb Infantry, a zine which conceptually claims more. Although we’re starting with small-batch editions, we wanted to position ourselves with room to expand. I think we might end up becoming a blend of things.

‍‍For the handle, inevitably LOG and its thousand other variations were taken. Ours is quite elongated, pictogrammatic.

‍Lowbie: There’s a long chain of texts of Duc and I doing FPBJPC-style acronyms for LOG.
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‍‍VVV: What about the title of the first publication, Lowbie’s “An Angel for Every Hour of the Work Day”? Where does it come from and who are these angels?

‍Lowbie: In the spirit of the “offsite show,” I turned my home office (bedroom) into a gallery, doing an angel drawing every hour of my work from home shift. I used to get my angels mainly from Pinterest and archive.org, which is funny because once you spend enough time on both, you see their images in loads of relatively crap Instagram art that appears on my For You Page, which I am now of course in lineage with.

VVV: Zines have this long tradition of people publishing themselves because no one was going to give them permission: sci-fi in the ‘30s, punk in the ‘70s, riot grrrl in the ‘90s. What does that tradition mean to you and where do you see LOG in it?

‍Lowbie: I’ve been a photographer since about thirteen and within the “spaces” I grew up—skating, gig photography, DIY publishing—zines were the go-to medium. They were also all I could afford to buy or make.

My biggest inspiration has always been Innen Zines out of Switzerland. I was a huge Odd Future fan growing up and Lucas Vercetti released a zine with Innen which was the first I bought from them; I became totally hooked. Something about the simplicity and rawness of the images, the DIY look. I guess part of me thought, “I could do this.” And I did!
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‍Duc de Berry: There’s a scrappy availability to making zines that's very similar to the ethos of the NFTs our scene puts out.
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NFTs used to be so f— —g expensive. Now you can grab a banger for £7 on VVV.

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‍Our zines are about the same price so getting a rare publication conversely feels like a bargain. As VVV expands the platform's scope into physicals, we thought this was a well-timed moment to diversify the scene’s output and help place it in a wider conversation.

There’s kind of a continuation of what Galerie Yeche Lange was doing. We want to expand into different physical editions and shows people can come to as well.

‍Lowbie: A large part of why I wanted to do LOG was a deep love for collectible, physical work, like zines and books. Fairy’s book, Card NFT 2, the zines and newspapers I have from Parker, that’s my shit. It’s just nice to have the option to collect what we hope will be regular publications from your favourite artists.

We’re absolutely not going to be crypto space exclusive. There are loads of talented artists we want to get involved from outside our sphere. I am also a huge fan of the old Art & Project Bulletins and this feels within that lineage.

‍‍Duc de Berry: My background is in painting with a focus on painting's relationship to image making. Zine production is similarly concerned with object-image relations. We’re conceptually interested in it as a container. One thing we’re playing with is a zine's relationship to an exhibition and vice versa, an exhibition's relationship to its documentation. We’re thinking about a work's dispersal, questions like where it lives.

‍VVV: You both clearly live online. So why print? What can a photocopied-and-stapled—or however you make it—object do that a post can't?

‍Lowbie: I am trying not to live online so much anymore. I am only logged into my account on my laptop and try to stay away as much as possible. I’m a physical guy; most of my work is physical now yet still I find myself unable to escape.‍

‍The weird part to me at the moment is how we are making these beautiful physical things but so much of it still relies on being online. From conversing with Duc, to the design, to the print, to postage, all of these processes rely heavily on being online. So as much as I’ve been trying to escape, it hasn’t worked.

Forcing myself to sit with these zines and any of my books is a wonderful respite and totally re-energises me. I have been much quicker to burn out when focusing my energy online than when I am focusing it on the physical.

‍‍Duc de Berry: The online side of things seems already well-catered for in our space; meanwhile, it’s perhaps poorly catered for in others. There’s an opening we’re identifying that we think can be interesting. The NFT to zine pipeline is a new conversation but there’s a direct relationship. When I try explaining NFTs to trad art people I often end up reverting to “it's like a digital print edition.”‍

‍We’re also both somewhat sentimental people. Tactile things are sensual, a zine has a smell, a texture. You feel the weight and size of it in your hands. They carry so much memory too and if you’ve ever kept any kind of physical archive you’ll know what I’m talking about.

VVV: Can you talk about curation? What's your editorial instinct? How do you know something belongs in LOG?

‍Lowbie: It’s very much artist led but we know the artists we’re working with. With a couple of people we’ve approached, the ideal publication Duc and I envisioned was exactly as the artists then suggested we do it. Between us, we have a perfect sense of expectation, taste, ambition, vision and communication. That just makes curating seamless.‍

‍VVV: Is a zine for you more of an archive, an artwork or a conversation?

Lowbie: A zine can be anything an artist wants it to be.

‍‍Duc de Berry: It’s all of those things. LOG.

VVV: How do you divide the work between you and where do you disagree?

‍Lowbie: At the moment I’ve taken the lead on coding the site, the physical design and printing. Duc has done the most incredible job on the branding, socials, outreach. But the whole time, in all of the above roles, we are talking through every decision with one another.

‍‍Duc de Berry: I’m currently in talks with a print studio too. We would like to do some riso print editions and publications soon. I also made a John thumb-up emoji rubber stamp.
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Lowbie: I don’t think we’ve disagreed on much. It seems like every time one person is feeling the slightest inclination towards or against something, the other senses that and understands.

‍‍Duc de Berry: Yeah we feel very in step with everything. Then we generate and move through ideas very easily. We really trust each other. About seventy-five percent of the work is actually just us chatting. I love when a project feels like this. New things seem to effortlessly spin up all the time.

‍Lowbie: I greatly admire Duc’s communication, design/taste sensibilities, honesty.

‍‍Duc de Berry: I would say all of the above for Lowbie too. He has a supreme ability to lock in. After our first pub meeting I’m pretty sure he vibe-coded the entire first iteration of the site, including the back end, by the time the night bus dropped me home.
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‍VVV: What's been the most fun part of making this together so far?

Lowbie: I love receiving the physicals and working with the artist, but the best part for me was seeing the website when we fully finished it. I felt genuinely breathless with how it turned out. Gorgeous!

Duc de Berry: When I figured out a couple of big design issues and everything we’d been working on clicked and felt cohesive across platforms, that was amazing.

One evening while we were working together, Egmund went out to work on his project and his dad decided to tag along with him. We found out his dad is the main inspiration for John. Later on, we got all his images from the evening and it’s just them fly-posting John as the sun goes down; it was beautiful. We got a special window into something.

Egmund did our second issue and our third will be by Gremlins2Movie, out September 1, 2026.

‍VVV: Is there a zine, object or even a project made by someone else that you return to for inspiration?

‍Lowbie: When it comes to exemplar physical works on paper, these stand out: Jerry Hsu’s Innen zines, Art & Project Bulletins, Ray Johnson’s mail art.

‍Duc de Berry: This isn't a specific project but in the early building stage we intensely studied publishers and gallery’s websites and Instagram grids. When starting from scratch, these are the main tools you have to catch people’s eye and communicate your vision. For example, the grey background used on our site and to display work on socials is the tone of a photographed gallery wall, allowing the zine to seamlessly inhabit these spaces.



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Lowbie is an artist, writer, zine-maker and collector who came up through skating, gig photography and DIY publishing. He co-founded LOG, built its site and drew its first issue, An Angel for Every Hour of the Work Day.

‍Duc de Berry is an artist and curator who co-founded LOG.

‍VVV is an NFT Launchpad created by artists for artists.