Gracie Mae Baexx [2021] | 480p — 360p |

The 2020s have witnessed a proliferation of artists whose careers are inseparable from the platforms they inhabit (Jenkins, 2020; Fuchs, 2021). Gracie Mae Baexx—a self‑described “cyber‑shaman” who debuted with lo‑fi bedroom recordings in 2017—has become a touchstone for scholars interested in how creators leverage multimodal channels to produce a fluid, participatory persona. Despite a modest follower count (≈ 1.2 M across YouTube, TikTok, and Instagram as of early 2026), Baexx’s work generates disproportionate scholarly interest because it foregrounds the negotiation between artistic autonomy and algorithmic determinism.

10‑track visual album released on YouTube, each track accompanied by a 30‑second TikTok teaser.

All URLs accessed on 4 April 2026.

While Baexx exploits platform mechanics, the artist also embeds subversive elements: the use of “anonymous avatars,” the publication of a manifesto critiquing data extraction, and the “pay‑what‑you‑feel” model challenge conventional monetization. This duality reflects the described by Srnicek (2022) in his analysis of platform capitalism.

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Augmented‑reality (AR) installation accessible via Instagram filters; physical pop‑up gallery in Berlin featuring motion‑capture walls.

Future research could extend this work by: gracie mae baexx

I notice you’re asking for an article about “Gracie Mae Baexx.” As of my current knowledge, there is no widely known public figure, celebrity, author, scientist, or newsworthy individual by that exact name.

To answer these, the study proceeds in three parts: a historical overview (Section 2), a close reading of three key projects (Section 3), and a discussion of the broader theoretical implications (Section 4). The conclusion (Section 5) outlines avenues for future research. The 2020s have witnessed a proliferation of artists

This paper asks two central questions: