Drawing on recycled and obsolete technological materials as the grounds for his paintings, London-based artist Nick Gentry creates a conversation between digital and analog processes.

He tries to avoid identifying age, gender and race and said his portraits are 'like a void to be filled' which enable people to bring their own identities to his work.

During this time he was inspired by a visit to the exhibition Sensation at the Royal Academy of Art,[8] signalling the arrival of the Young British Artists.

[10] A series of Generation X portraits on supports made from used computer disks, whose metal hub serves as the subject's profoundly un-humanlike eye.

Adding to his haunting renderings are the handwritten labels, along with the disks' original blue, black, or grey colour contributing to the composite form.

In a body of arresting assemblage paintings for the exhibition "Skin Deep," the London-based artist used crowd-sourced VHS tapes as the grounds for extraordinarily realistic portraits of cyborg sensations.

Inspired by the Nucleic acid double helix form, a series of 21 giant sculptures were customised by artists and designers including Ai Weiwei and Zaha Hadid.

The works of art were put on public display at iconic London sites before being auctioned by Christie’s, raising funds for Tusk Trust conservation projects protecting rhino and other African species.

In November Gentry had a fourth solo exhibition at Robert Fontaine Gallery titled Synthetic Daydreams which consisted of works using 35mm film negatives.

[34] Gentry's work featured for the first time in Hong Kong at the group exhibition Urban Renewal at Opera Gallery alongside artists Seo Young-Deok, Olivier Dassault and Yves Krief.

The exhibit, which marked his debut with the gallery, explored human connectedness, remembrance and nostalgia within the unrelenting, digitally oversaturated world of the present.

The works, which mostly feature ethereal humanlike subjects, are constructed from sourced materials made by donors from around the globe that piece together a psychologically compelling narrative of human solidarity.

September 2018 saw Gentry exhibit 15 new works at Opera Gallery in London alongside South Korean sculptor Seo Young Deok in a joint show titled Human Connection.

Gentry used a combination of outdated media including crushed data CDs, floppy disks and film negatives to "communicate the feeling of time passing, which is a really difficult thing to describe" with words alone.

Gentry launched his new project at the exhibition, taking photos of visitors to the show, which were then used to create modern-day selfie inspired portraits on vinyl LP record sleeves – another discarded piece of kit that he transformed into artistic data-rich time capsules of modern social history.

[40] Later that year Gentry continued to experiment with using record sleeves in his large scale montage portraits at his first solo show in Paris at Opera Gallery in the exhibition 'ID Merge'.

[41] During lockdown in the spring of 2020, Gentry undertook at project to communicate the experiences of front line health care staff dealing with the COVID-19 pandemic.

The artist invited questions that are uniquely contemporary, asking about performance and presentation on the internet, increasingly artificial standards of beauty, and the instability of memory over time.