Evil Biscuit, Drifella III #168 (Detail), 2025. Courtesy of the artist‍‍Drifella III: Room for ComplexityPeter Bauman (Monk Antony) considers how Drifella III by Evil Biscuit subverts the derided PFP to build a room-scale triptych of painterly compositions, internet meme-language and dark jester license, colliding into a complex record of life in the 2020s.‍“...whether 2 embrace the light of Sylveon or the darkness of Umbreon.Drifella poses this same ideology with resurrection. use a milady soul and be light and infinite on the network forever, but use a mifella and your dratini will turn into the dark jester known as DriFella”-evil biscuit on Drifella (March, 2023)‍‍It’s immediately apparent that Evil Biscuit’s Drifella III resists simplicity and surface-level understanding.Nothing about the collection is simple. It’s not work for scrolling or glancing or “getting” right away. It’s a series of 1,333 rooms containing 3,999 chaos-layered, reference-maxxed paintings. Each room is a triptych containing up to 78 different traits; by comparison, CryptoPunks uses 87 traits in its entire 10K collection. Drifella III has over 5,000 traits.‍Evil Biscuit, Drifella III #424, 2025. Courtesy of the artistThese numbers may begin to explain the complexity of the project but still fail. It’s room-size work that demands room-size attention, but it also demands room for emotional variance. One piece might make you laugh, another cringe, while another leaves your jaw on the floor.But the pain is worth it. Art we remember about a time speaks precisely to that moment, imperfections and all. Think how Richard Hamilton’s collage work defined the British post-war consumer society or how Warhol’s Marilyn Diptych captured the rise of mass media in 1960s America.What’s exciting about Drifella III is how uncannily well it captures our chaos-layered times in those pop art traditions.‍‍It succeeds by bringing in so many. You like twentieth-century painting and drawing? Regarded film? High fashio