Tony Babel’s ‘Vintage Addictions’ takes NFTs back to a simpler time (or not)

Like sheep led into the lair of a hungry wolf, those who encounter Tony Babel’s NFT collection are seduced by wide eyes and devious grins, only to be slaughtered by the harsh truths depicted upon backdrops of bleak dystopias.

There is a materialistic desperation conveyed in Babel’s work that underlines the cold nature of an unfortunately relatable self-centered existence.

“My ‘Vintage Addictions’ series of loops are all about the consequences of addictions of various types. It’s a bit of a social commentary brought to life with lively animation.”

Substance abuse’s empty nature is a present theme throughout Babel’s collection. In “Check Please” and “Lucky Stroke,” he depicts the endless routine of smoking, drinking, and a monotonous outlook where “too much is never enough.”

“Some hit home more than others, but the general theme is somewhat grim once you notice the little details.”

Babel’s art points the finger back at the viewer and forces the observer to take a personal inventory of their relationship with the message that Babel sends through his art.

 “My style brings a lot of freedom to explore both fun and dark themes mixed together.”

Babel’s NFTs have a familiar charm. His art collection looks as if it could be taped onto a reel-to-reel and projected for the cartoon intermission between two main features at a drive-in theatre during the 1950s. His early style was inspired by classic animators.

Babel followed his artistic drive and devoted himself to his craft.

“I’ve been in motion/graphic design and animation for 16 years now. Around 6 years ago I got the itch to revisit the style I loved so much as a kid, and it all came full circle.”

Babel adapted his artistic process but ultimately stayed committed to his familiar approach.

The creative process that works for Babel starts with his unique perspective.

“I have Aphantasia. Which means I don’t have the ability to create mental images in my mind. Instead of visualizing a picture of what I’d like to create, I “see” it in a broader sense. Like a gut feeling of what I want to portray.”

The creation as well as the conceptualization of Babel’s art occurs simultaneously.

Even though Babel may have an idea of the direction he wants his art to go in, he genuinely lets his art lead the way.

“Sometimes I’ll even start to animate midway through. The piece grows organically, and I avoid being too attached to the initial idea. This leads to some great ‘eureka!’ moments.”

Babel, whose parents are originally from Tbilisi, Georgia, was born in Israel, spent time in Moscow and today lives near Tel-Aviv with his wife and cats, initially discovered NFTs around mid-2020.

After working his career in the animation industry, Babel recently has been able to capitalize on selling his art in the form of NFTs. Babel’s first sale was “Kong 4156” on April 6th for 5 ETH. He has since generated sales on SuperRare totaling over 87 ETH, or $342,000 at time of publication, on a collection of only eight pieces.

Other than his subject matter’s thought-provoking messages, the GIFs Babel creates fit seamlessly into an era that predates his birth. Babel’s NFTs are digital time machines that remind viewers of a simpler and less up-tight time in the animation industry.

“I have looping pieces that celebrate that [Looney Tunes] era of animations with wacky characters, and music.”

Our culture’s adoption of NFTs has created a world of opportunities for digital artists and developers. For Babel, websites like SuperRare gave him a new gallery to showcase art that he already had.

As an artist, Babel found a new artistic resource by minting and embedding his NFTs on the blockchain.

As a community builder, he sees the opportunity for potential growth with the dawning of the NFT market. “The potential for artists to create and build communities in a decentralized way, instead of relying on a specific social platform, is huge.”