The Good Tech Companies - The Full-Stack Artist: How L.S. Toy Turns Economics, Law, and Surveillance into Creative Code

Episode Date: December 15, 2025

This story was originally published on HackerNoon at: https://hackernoon.com/the-full-stack-artist-how-ls-toy-turns-economics-law-and-surveillance-into-creative-code. L.S. Toy transforms economics, legality, currency, and surveillance into system-driven conceptual art built for a tech-structured world. Check more stories related to media at: https://hackernoon.com/c/media. You can also check exclusive content about #contemporary-art, #conceptual-art, #systemic-art, #economics-in-art, #surveillance-art, #financial-art, #l.s.-toy, #good-company, and more. This story was written by: @jonstojanjournalist. Learn more about this writer by checking @jonstojanjournalist's about page, and for more stories, please visit hackernoon.com. L.S. Toy is a London-based conceptual artist who merges economics, legality, currency systems, and conflict architecture into procedural artworks. With a dual background in Economics (LSE) and Fine Art (RCA), he builds projects that function like financial instruments, legal artifacts, or system-level documents. Operating outside traditional galleries—often in warehouses—Toy challenges how value, legitimacy, and power are constructed in a tech-driven world. His art behaves less like painting and more like system engineering.

This audio is presented by Hacker Noon, where anyone can learn anything about any technology. The Full Stack Artist, How L.S. Toy turns economics, law, and surveillance into creative code, by John Stoy and journalist. A new kind of artist for a system-driven E-R-A-I-N-A-N-A-Tek-D-Diven culture where most conversations revolve around artificial intelligence, financial engineering, and the architecture of global systems, IT is becoming harder for artists to create work that feels relevant to the real world. Much of contemporary art still relies on escapism, nostalgia, or the aesthetics of the past. London-based conceptual artist L.S. Toy is moving in the opposite direction. Instead of offering a retreat from systems, he turns the systems themselves into raw material.

His work treats economics, legality, currency, and conflict not as subjects to interpret but as functions to inhabit. This position's toy is one of the most unusual and rigorously conceptual voices to emerge from London's art scene in years. From economics to fine art toys path into the art world reads like a sequence of system switches. Before entering fine art, he studied economics at the London School of Economics, an academic environment that focuses on the structures that govern money and value. After mastering the logic of markets, contracts, and incentives, he pivoted into the Royal College of Art to study fine art, absorbing a second vocabulary focused on visual language and cultural production. This dual background becomes foundational to his

practice. It informs his ability to construct works that feel like artifacts extracted directly from the backhand logic of global systems. As he describes it, the most honest artistic position is not criticizing systems from the outside but documenting the role one already occupies within them. This commitment to systemic thinking has produced projects that have already generated controversy. Toy created a million pounds of conceptual bonds known as the F-1 series, a structured set of works that mirror the logic of financial instruments. He has built currency sculptures that sit on the border between legality and art, challenging the viewer to consider why a banknote is valuable and why its replication becomes a crime in one context but a collectible in another. He has also

developed the Olympic series, a set of grayscale flags scaled to represent the military and economic power of different nations. These pieces are not symbolic critiques. They are procedural documents mapping the architecture of contemporary power. Exhibitions outside traditional systems his exhibitions reflect the same outsider logic. Instead of operating through galleries, Toy frequently uses warehouse spaces in London, Berlin, and Brooklyn. Shows are sometimes unannounced, last only a few days, and offer no studio visits. Even the buying process reflects a systemic understanding. Collectors range from anonymous financial center buyers to crypto-native participants and payment methods include cryptocurrency alongside traditional transactions.

Some works require legal consultation before being displayed, further blurring the boundary between artwork and regulated artifacts. The conceptual clarity of the work has drawn comparisons to code. Toy does not paint pictures. He visualizes the back-end processes that define the way the world functions. He uses financial bonds as if they were physical smart contracts. He treats near-perfect currency reproductions like double-spent tests against legal infrastructure. He samples the imagery of modern conflict as ifanalyzing data packets from a surveillance server. In this view, toy behavesless like a painter and more like a full-stack developer of artistic systems. Collapsing the divide between tech A&A-R-T this approach resonates deeply

with readers in tech, finance, crypto, and systems design because it collapses the artificial divide between analytical and creative work. Toy's art demonstrates that compliance, legality, markets, and media feedback loops all possess inherent aesthetics. A bond certificate and a landscape painting both rely on shared belief. A drone feed and a traditional war photograph both construct mediated versions of reality. By dragging the hidden mechanics of these systems into the foreground, Toy exposes the infrastructure most people interact with daily but rarely examine. The tension surrounding toys work is intentional. His goal is not to achieve universal praise but to generate debate about what counts as legitimate art, who decides value, and how systems create meaning. The artist

welcomes speculation, skepticism, and controversy. He understands that media coverage, especially contradictory or critical coverage, becomes part of the artwork itself. The more people argue about whether the work is conceptual art, social commentary, or an elaborate con, the more effectively it reveals the constructed nature of legitimacy. The artist's unusual career path reinforces that effect. Moving from Street Art O LSE to RCA to warehouse exhibitions constructs a narrative that mirrors the experience of navigating institutional systems. It feels like someone is learning multiple languages of power and then using those languages

to build artifacts that test the integrity of the structures they examine. This is one reason personal details remain limited. Toy prefers the work to speak to systems rather than the artist's political identity or personal biography. Looking ahead, Toy envisions his work moving toward major biennales while maintaining independence from traditional institutional constraints. He aims to expand the conceptual infrastructure of his practice, allowing the work to merge even more seamlessly with media circulation, economic systems, and the broader architectures that govern everyday life. Art for a world built on code A&D contracts in a world increasingly defined by data, compliance, economic volatility, and digital mediation,

the work of L.S. Toy offers something rare. It does notescape systems. It reveals them. It shows that the difference between legality and illegality, art and asset, critique and participation, often comes down to context rather than content. And in doing so, it proposes a new direction for conceptual art, one that feels engineered for the age of code, contracts, and global infrastructure. If the future of creativity belongs to those who understand systems, Toy Maybonne of the first artists fully prepared for that world. Thank you for listening to this Hackernoon story, read by artificial intelligence. Visit hackernoon.com to read, write, learn, and publish.