Digital Freedom and Fantasy: Q&A with SuperRare Artist Tyler Givens

Digital Freedom and Fantasy: Q&A with SuperRare Artist Tyler Givens

Feb 23, 2023 Artist Conversations / Curators' Choice

Above: “data privacy” by stockcatalog licensed under CC BY-SA 2.0

Digital Freedom and Fantasy: Q&A with SuperRare Artist Tyler Givens

Arianne Lapidus
2 years ago

During June 2022, SuperRare Gallery in NYC featured a show centered around two curations. “SuperTrans,” curated by Laurel Charleston, featured eleven transgender, nonbinary, and gender nonconforming artists in the Web3 Space. “ICONS,” featured picks from Nicole Ruggiero and Sam Clover (Planttdaddii), and showed the works of a bevy of talented  LGBTQ+ creators. Tyler Givens, one of the “ICONS” artists, sat down with SuperRare curator Mika Bar on Nesher to speak on his inspirations, his creative process, and his hopes for the future of queer representation in the NFT world.

Artist’s Bio:

Tyler Givens was born in 1994 in Los Angeles. He now lives and works in New York. He received a BA in Photography & Imaging from the NYU Tisch School of the Arts in 2016. Givens was a member of Thom Browne’s creative team. He then joined the studio of Santiago & Mauricio before turning focus to his full-time studio practice.

Most recently, he presented a series of works on paper at several notable galleries, including: The Fairest; Berlin, James Fuentes Online; New York, and Duplex; New York. Givens also displays NFTs at the SuperRare and Superchief Galleries. Givens’ NFTs are viewable on SuperRare, Foundation and Zora.

Q&A with the artist:

MBON: What kind of stories do you set out to tell in your work? What inspires and informs your visual world-building?

TG: Within the world of Neo Eterna, the universe that my characters gave birth to, I aim to tell stories of liberation. The characters in this universe prioritize joy and absolute freedom; making whatever choices necessary to protect their way of existing. Often this manifests through the destruction of the old – in order to make room for the new. 

Most of my inspiration comes from the existential questions posed by my favorite animes; including Revolutionary Girl: Utena or X1999. I draw inspiration from the flamboyant fashion imagery from the 1990s and 2000s. Additionally, I grew up in the Church, so Christian iconography and biblical references often trickle in. In this setting, extremes of good and evil were taught to me from a young age, but the choices we make in life are a lot more complex.

MBON: What does freedom mean to you? How does it relate to fantasy? How do themes of freedom and fantasy play out in your works?

TG: My work is heavily informed by my lived experience.  For me, freedom means to unapologetically walk in my power. I spent many years of my life hiding my light in order to fit the boxes and molds placed upon me. Because of these constrictions, I found the early metaverses as a tool for escape, digitally wandering the pixel landscapes of WoW, Habbo Hotel, or Gaia Online every evening after school. In these spaces I could alter my appearance on a whim with fantastical garb, and essentially become whatever I felt like. However, I also discovered darker sides of the internet. 

Around the same time, I discovered fashion photography, and grew obsessed with the works of Tim Walker and Nick Knight (shown below). Fantasy became my main outlet for that dose of freedom in many ways. It allowed me to explore facets of myself without judgment, and to break down the shame I carried. The same goes for my creative practice. A lot of my work is self-portraiture: playing dress up and presenting myself in new forms; all in an effort to unlearn. In all of my different mediums (digital, drawings on paper, screenwriting); these explorations of freedom and fantasy can feel existential, sometimes doom-bound, but I feel those moments are necessary in self-actualization.

Tim Walker, Vogue, May 2012.

Nick Knight, Vogue UK, December 2009.

MBON: Who are some of the artists you especially love and respect in the space? What is it about their work that resonates with you?

TG: Moonsundiamond, Niall Ashley, Moyosore Briggs, and Diana Sinclair to name a few. They are all poets who look at the world from a similar lens as my own. I’ve had the pleasure to speak with and listen to each of them discuss their practices, and I appreciate the many layers that exist in their works both in the physical output and in their intentions.

MBON: Do you work mostly during the day or the night? Are you a full time artist at the moment or do you have a day job as well? 

TG: I work mostly during the day, though I love drawing at sunset. Right now I am a full time artist with the support of my lovely partner. I made the decision at the height of the pandemic when I had unemployment as a safety net (LOL), and it’s been an intense though rewarding journey.

MBON: What advice do you have for artists starting out?

TG: I think because we see an abundance of work; on our timelines and feeds everyday, there’s a subconscious pressure to over-perform. I put so much pressure on myself – to produce and to lay the foundations for all of my bigger dreams. Between developing my first feature-length screenplay, generating digital works for the NFT space, and continuing my physical practice; I stretched myself thin. Over the last year, I’ve experienced my lowest lows to-date. I’ve felt only recently that I am making my way out of the trenches. The biggest lesson I have learned is to take time to do nothing and find balance. Also, go outside if you can!

MBON: Can you tell us about the piece you showed during the show at the SuperRare gallery titled “PROLOGUE”? I see the two angels as welcoming visitors through a gate or portal, but what does the piece mean to you?

TG: I knew that when I made it onto SuperRare (shouts out to Nicole Ruggiero and Sam Clover), I wanted to create work that was a deeper reflection of my spiritual journey and that pulled from the same codes as my drawings on paper. My early works in this space reflect my inner child’s joy and whim. I love those pieces and will continue to create from that lens within Neo Eterna. However, right now there’s so much more I want to explore within myself.

“PROLOGUE” is most importantly a prayer to my benevolent ancestors for their strength, guidance and protection. Over the last year, I was slammed with life events that made me feel chased by Death. Aided by the breaking of familial bonds; my mental health tanked. Life felt very out of balance and sinister. I wanted “PROLOGUE” to honor this intense journey, which, despite the chaos, resulted in feeling more whole and balanced.

“Civilizations of an Exoplanet” by @leoisikdogan

“PROLOGUE” is most importantly a prayer to my benevolent ancestors for their strength, guidance and protection.

-Tyler Givens

TG: The piece opens with my character performing a ritualistic dance as the viewer ascends. Dance is the most essential part of my ideation process – my greatest revelations emerge when lost in movement. The angel above them holds two flowers, representing life, and the final two angels wait on guard ready to protect the star above. The star in this context is a symbol for my light and legacy. The piece is framed with a heart in each corner, representing love.

MBON: What are the next steps for you? Are there any upcoming projects you’d like to share with us? 

TG: I am gearing up to participate in my first artists’ fellowship with a collective whose works and intentions I admire. Over the course of my time there I am excited to learn from mentors and discover new frontiers within my practice. 

Aside from that, I am developing the world of Neo Eterna with my brother, and soon I’ll release my first proper collection of NFTs called, “MAKE ME A HERO, BABY.” The collection comprises  eleven works with five editions each, and is inspired by Disney’s “Hercules”. Oh, and keep an eye out for “POSSESSION,” my next piece for SuperRare.

MBON: What do you see in store for queer representation in the NFT space? What would you like to see more of?

TG: This will take time, but my goal is to garner resources to help other artists and storytellers from my queer community realize their dreams to the fullest extent. I hope the next generation will learn to do the same, and we will see more queer NFT artists with the resources and power needed to build new systems. I would love to live in a world where our work is also celebrated outside the bounds of Pride Month.

You can view Tyler’s collection on Superrare here.

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Arianne Lapidus

Arianne Lapidus is a writer living and working in New York City. She has worked in several artistic mediums, from costume to graphic design. Arianne is a new entrant to the world of Web3 but finds that it aligns perfectly with her fixation on the intersection of technology, artistry, and design. You can find her musings on Web3 on Twitter: @arianne_tweets.

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Curators' Choice

A brief history of cryptoart

A brief history of cryptoart

Oct 12, 2022 Cryptoart's future starts now

Above: Vitalik as a Cryptoartist (Suryanto sur, 2020) on SuperRare

A brief history of cryptoart

Arianne Lapidus
2 years ago

This article is part of a series

NFTs have an image problem. How do we correct that? Language is the key. Though web3 loyalists and early adopters are convinced of NFTs’ future economic, technological, and social potential, naysayers decry NFTs as worthless bits of digital trash with no clear value or purpose. Critics of this new technology cite the turbulent market, the widespread saturation of PFPs and collectibles, and skepticism on blockchain technology from traditional financial markets as proof of their claims that “NFTs are dead.” To critics, NFTs are just a passing fad–a brick in the wall of obsolete technologies. But this writer takes a different angle. Yes, NFTs are dead! But not in the way outlined by critics.“NFTs” are only the first iteration of a new technology.  “NFT” is a useful term to explain the technology that powers art on the blockchain, but it does not embody the future of the movement from an artistic perspective. Artists, collectors, and industry professionals have gravitated towards a different term: cryptoart.

Some may see the use of different terminology to describe NFTs as a simple rebrand. But the two are different in more than just name. NFTs include any unique digital asset that can be collected and transferred on-chain from one user to another. This encompasses everything from CryptoPunks to POAPs (Proof of Attendance Protocols). There is no specification on what form these tokens have to take, but the most popular and well known form is that of cryptoart. One is the method, one is the thing itself. It is the difference between calling an Old Master painting an “oil” versus calling it a Rembrandt. Cryptoart is better suited to the works emerging from the fine art offerings of the NFT world, because it touches on the movement of provenance and individual ownership within the larger decentralized network. It pays homage to the NFTs that form its foundation, while acknowledging that art is the thing that is ultimately being created. 

Cryptoart History (obxium, 2020) on SuperRare

This new industry has so much talent: artists, thinkers, and web developers alike who take advantage of web3’s new sense of agency, set of creative and technological tools, and resultant mediums. Cryptoart, as a name, pays homage to the technology used to create it, as well as the body of work being created. But what is a crypto artist? In essence, they are artists who mint their work on the blockchain. Where they differ from traditional artists is in the underlying NFT technology, which is used to protect artists’ works and to enable their financial security. But the necessity to create art has not changed. Thus, this emergent world deserves a moniker that puts artists in sharp focus, because it is their work that is being bought, sold, cherished and championed. And indeed, there are artists of all ilks populating this new space: graphic designers, photographers, animators, musicians, and poets; all emboldened by the ability to set their own terms. 

During the meteoric rise of NFTs, other forms of NFT projects, like CryptoPunks and CryptoKitties, predated the cryptoart movement. The market for PFPs, collectibles, utility-driven tokens, scams, and financial quick-flips grew far faster than the market for art. As a result, prices rose to astronomical heights, and these NFT projects not only stole the media spotlight from crypto artists, but also skewed public opinion of NFTs more generally toward hate and distrust. Now the market has plummeted into a crypto winter, with Bitcoin and Ethereum values dropping to record lows for the first time since 2020; a stark reminder of the risks of creating artwork tied to a new and volatile technology. This recent crash coincided with a new onslaught of people redoubling their belief that this nascent industry is doomed to fail. 

Though the financial slump has been hard on artists, it represents a wider opportunity. Like a wildfire clears overgrowth, the crypto winter also burns away those same overvalued projects that so negatively shaped public opinion. The upended market provides fertile ground for a new cache of artists using the blockchain to their advantage, and allows cryptoart to once again take center stage. As artists in this new world have changed the norms surrounding transparency in compensation and recognition, so too have they changed the way we address them and the things they create. NFTs may be derided in the public eye, but cryptoart has the opportunity to define itself. The upheaval of the status quo reminds one of the dawn of the era of Enlightenment. During the Medieval period, art in Europe was largely religious and paid for by the Church. In the era directly following, experimental and, to some, blasphemous thought exploded. The result was one of the most fruitful periods for scientific and philosophical growth in human history. We may now be experiencing the same. 

me doing this cryptoart thing – blue (der_probst, 2020) on SuperRare

Not only is the foundational structure of this new artistic ecosystem vastly different from its physical predecessor, but also the diversity and breadth of emergent work. The umbrella of cryptoart covers artistic mediums as varied as its creators. In the same marketplace you can find cyberpunk cityscapes made by Turkish nineteen year old Idil Dursun, alongside graffiti-like offerings from celebrated American painter Cy Twombly. Cryptoart doesn’t denote one particular format, but instead encapsulates many mediums. This includes, but is not limited to: 3D and 2D animation, still photography, generative art, and a mixture of physical and digital practices. Styles are as manifold as the mediums they’re represented in. Cyberpunk, Trash Art, Impressionism, surreal and photorealistic pieces can all be termed cryptoart, as long as they’re minted on-chain. Cryptoart is creativity unbridaled by the limits of form.

Additionally, Cryptoart differs from its physical predecessors in its freedom from the limits of location. It is the first truly global art movement, not tethered by the confines of geography, nor centered on the European voices that have dominated the art market for centuries. Calli Mirales, a SuperRare gallerist with experience in both traditional art and cryptoart, spoke to the difference she noted between the traditional art world and cryptoart: “Cryptoart completely eradicates those locational and temporal boundaries, for the first time we are seeing an art movement happening simultaneously in a completely global capacity. Artists and collectors from all over the world can be instantly connected, totally reimagining the idea of community and exponentially expanding the bounds of creativity.” No other artistic movement has as wide a reach or as manifold a form. 

The shift from NFTs to cryptoart is fecund with opportunity.  We already live in a vastly digital world, but its shape is in the hands of the few, not the many. With the immutable qualities of the blockchain, artists now can protect their work from fraud and ensure they are duly compensated from each individual sale. NFTs have allowed a multitude of voices and visual styles to explode and be seen by people the world over. Once dominated by PFPs, collectibles, utility-driven tokens, and pump and dump schemes, the NFT market is now evolving into one that celebrates the artists and creators that exist at its core. With the movement to cryptoart, we have the opportunity to plant the seeds of a new narrative. Rather than be defined by the perceptions of the outside world, we use the language at our disposal to show off the NFT community we know to be true: a community founded on transparency and radical inclusivity. One founded on celebrating and supporting artists, collecting works that speak to your heart over your wallet, and building a better, more accessible and egalitarian career trajectory for artists as a whole. 

CryptoArt (Brandon Walsh, 2022) on SuperRare

To honor this new revolution–simultaneously a cultural, financial, and artistic one–we must use the correct language.  Cryptoart is a more accurate name, and separates the chisel of NFTs from the newly sculpted work of cryptoart. It also allows for growth and specialization under the NFT umbrella. Perhaps we may soon be using terms like CryptoMusic, CryptoArchitecture, and CryptoPoetry to draw attention to the diverse masses of talent populating this brave new world. The time has come to evolve past our roots into our newest iteration and to breathe new life into web3 creativity: NFTs are dead, welcome to cryptoart!

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Arianne Lapidus

Arianne Lapidus is a writer living and working in New York City. She has worked in several artistic mediums, from costume to graphic design. Arianne is a new entrant to the world of Web3 but finds that it aligns perfectly with her fixation on the intersection of technology, artistry, and design. You can find her musings on Web3 on Twitter: @arianne_tweets.

Art

Tech

Curators' Choice

Digital Architecture and Imagined Worlds: Q&A with SuperRare artist Jarvinart

Digital Architecture and Imagined Worlds: Q&A with SuperRare artist Jarvinart

Jul 13, 2022 Artist Profiles

“One Way Ticket”. Jarvinart, 2021.

Digital Architecture and Imagined Worlds: Q&A with SuperRare artist Jarvinart

Mika Bar On Nesher and Arianne Lapidus
2 years ago

I wanted to build massive cities with lots and lots of buildings that feel alive and reachable somehow, rather than clutters of little concrete blocks.

— Idil Dursun a.k.a. Jarvinart

SuperRare artist Idil Dursun (a.k.a. Jarvinart), is an architect and CG artist based in Ankara, Turkey. She was interested in art from an early age and used to paint with acrylics on canvas. During her architectural studies, she developed an interest in concept art. She is mostly known for her dystopian cyberpunk scenes and huge cityscapes, as well as for building her own universe as a vision of future worlds.

Some of her works have been featured in US based science fiction magazine Dark Matter Magazine, displayed in US based The Crypt Gallery and Pellas Gallery, Italy based Dart Museum – Permanente di Milano and exhibited on “FUTR World Abu Dhabi 2021”. She is one of the TIMEPieces artists who contributed to the “Slices of TIME” collection in 2022. Most recently, her works have been displayed on Times Square billboards during NFT.NYC 2022.

Jarvinart’s piece “One Way Ticket” was displayed in the SuperRare NYC PopUp gallery’s debut show, “Visions From Remembered Futures”. This exhibition centered on themes of futurism, featuring works that reflected on the human condition and its ever-expanding relation to machinery.  SuperRare curator Mika Bar-On Nesher sat down with Jarvinart to learn more about the artist’s journey as a NFT artist and the evolution of her fantastical cyberpunk style.

“Memoirs of the Past: Eden, Before the Lost Age”. Jarvinart, 2021.

“Down The Abyss”. Jarvinart, 2021.

Q&A with Jarvinart:

MBON: How long have you been making art? What got you into the NFT space?

ID: I’ve made art since forever basically, since I was 4 years old or so. My parents sent me to art courses (only for a few months until I got bored of the classes lol) because I loved painting so much. After that, I continued trying out new techniques and mediums on my own and continued educating myself with some tutorials on acrylic painting. When I was in high school, I realized I was fascinated by environmental concepts that I saw while playing video games. In my 2nd-3rd year in college I was studying architecture,but I decided to be a concept artist and started working on my own environment concepts. 

My NFT journey started very soon after my graduation.  In March 2021, I was working as a CGI artist and one of my friends convinced me to give my personal works a shot. Of course I had no idea what it was all about back then. I can easily say it has been a life changing experience for me ever since.

MBON: You have an incredibly distinctive style, can you tell us a little bit about your development as an artist?

ID: I was always into the cyberpunk culture. There’s something about those enormous cityscapes with no visible beginning or end, and imagining what it would be like to live in one of those dystopian cities. I remember how mind-blown I was when I first came across Annibale Siconolfi’s and Dangiuz’s works, or when watching “Blade Runner”. After a point, being only an observer of this genre wasn’t enough for me. That was when my decision to be a CG artist happened. Since then I have spent lots of time on Artstation, following my favorite artists and trying to find my own unique style in this genre. I wanted to build massive cities with lots and lots of buildings that feel alive and reachable somehow, rather than clutters of little concrete blocks. My background as an architecture student helped me to develop a world builder’s vision while creating.

MBON: Do you work mostly at night or during the day?

ID:  I can’t possibly work during the day, at all! It’s a terrible habit I’ve had since my days as a student. I am only able to work during the night which f*cks up my sleep schedule. I hope to train myself otherwise in time, but it’s feeling hopeless at this point.

MBON: What advice do you have for young artists trying to break into the space?

ID: I think they should realize NFTs are not about making a quick buck. We all know there is an incredible hype since last year but all of my friends who have ‘made it’ dedicate an immense amount of time in order to interact with the community and appreciate the culture. This is one of the best parts of this space IMHO, if not the best. I got to meet some incredible artists and friends throughout, and it’s like meeting my own idols that I looked up to for many years.

The key is to genuinely be part of the community, and to not lose motivation when your sales lag from time to time. Simply enjoy your time here, meet with people, and keep creating, like we always did before NFTs. The community support motivates me even on my most desperate days, and I believe that’s the case for many people here.

MBON: Who are some of your favorite artists on SuperRare?

ID: There are so many! Annibale Siconolfi, Thomas Dubois, Paul Chadeisson, Madmaraca, Dangiuz, DeeKay, Reuben Wu, Raphael Lacoste, Donglu, NessGraphics and so many more. Can’t really choose between them.

MBON: Do you draw inspiration from books and movies? What are some of your favorites?

ID: I definitely do. Movies and TV shows like “Blade Runner”, “Dune” and “Arcane” inspire me a lot. I also look through concept art and shots from  movies I haven’t seen before for composition and color palette ideas. Additionally, one of the most inspirational works I’ve seen recently was an episode of LD+R “Jibaro” by Alberto Mielgo. A true masterpiece.

MBON: There is a dreamy element to your work, do you ever find yourself solving creative processes in dreams?

ID: I take this as a great compliment; thank you! It actually happens A LOT. Not necessarily during sleep, but after a long work day my brain doesn’t stop working. When I’m in bed and about to sleep – that’s when I figure out many ideas for the pieces of artwork I am working on. I usually make a quick note of them on my phone so I don’t forget when I wake up!

MBON: Do you work in any other artistic mediums?

ID: I do! I got an iPad last year to keep myself warmed up in my drawing; mostly female character concepts. I haven’t been able to work with acrylic paints for a long time but I plan to soon since it’s very soothing. Changing your medium from time to time is actually very refreshing and inspirational so I try to do it as much as I can!

MBON: Are there any exciting projects you’re working on now you’d like to share with us?

ID: Lately I’ve mostly been working on my upcoming Times Square billboard display! I’m very satisfied with the result and can’t wait to share it with everyone. I am planning to mint it on SuperRare which is super exciting because I couldn’t work on 1/1 artworks for quite some time. I want to make my return back to the platform with a piece of artwork that is special to me. There are some other exciting projects to come this year as well!! 

You can find Jarvinart’s collection of minted pieces on SuperRare here.

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Arianne Lapidus

Arianne Lapidus is a writer living and working in New York City. She has worked in several artistic mediums, from costume to graphic design. Arianne is a new entrant to the world of Web3 but finds that it aligns perfectly with her fixation on the intersection of technology, artistry, and design. You can find her musings on Web3 on Twitter: @arianne_tweets.

Art

Tech

Curators' Choice

The Muse lives on the Blockchain: Q&A with SuperRare artist ACK

The Muse lives on the Blockchain: Q&A with SuperRare artist ACK

Jul 6, 2022 Artist Conversations

‘the shady bunch’. ACK, 2022.

The Muse lives on the Blockchain: Q&A with SuperRare artist ACK

Chris Kokiousis and Arianne Lapidus
2 years ago

I can and will only make the art I want to make. Art that comes to me from the Muse.

— Alpha Centauri Kid

The first thing you notice when you do a quick Google search for ‘ACK,’ aka Alpha Centauri Kid, is how little of a digital footprint he leaves behind. There is no extensive “about” page, or any website detailing who he is. In every article and marketplace profile dedicated to ACK’s work, he describes himself with the simple dictum: “Letting the whispers of the Muse guide my way.”

Alpha Centauri Kid has embraced the anonymity of the blockchain as a form of identity, preferring to let his artistic output speak for itself, rather than marketing based on a cult of personality. This method has proven successful for the artist. Since emerging on the scene in 2021, ACK has become one of the most prolific and highly valued NFT artists in the space. His often glitchy and humorous style draws on crypto culture for deeper inspiration, with referential and interactive works that explore the nature of memes, the Muse, and Death. But who is he? 

SuperRare’s Brand Copywriter Chris Kokiousis sat down with the elusive artist for a Q&A to probe his thoughts on his work, what excites him in the NFT world, and the Muse.

Q&A with SuperRare Artist ACK

CK: Paint us a picture of your life pre-NFT. What kind of art were you creating, and when did the Muse first appear? Were there any formative experiences that really shaped your artistic vision? 

ACK: Pre-NFT I was making art and music, but just for myself really. Since childhood, I was always passionate about art, creativity, and the role they play in our daily lives.

The Muse first appeared to me when I was in somewhat of a ‘rock-bottom’ personally; after quitting art and music for the second time. I swore it off, but the Muse revived me and I submitted to Her. Since then, She has been prevalent every step of the way. It’s quite amazing really.

The formative experiences that shaped my artistic vision are not doing what others have recommended and pushed on me. I’ve had several big collectors try to dictate the style of art I create, and that’s something that really bothers me and something I could never let happen. I can and will only make the art I want to make. Art that comes to me from the Muse.

CK: How did you get exposed to NFTs, and what was the lightbulb/galaxy brain moment for you about the technology’s potential?

ACK: Beeple’s headlines back in March of 2021 caught my eye. Realizing that people care about memes and art was a major lightbulb for me and I got to work straight away.

CK: The Muse seems to be a crucial part of your creative process, and you mention the Muse in works like “she loves me not.” How does the Muse relate to Death? How do you see their relationship?

ACK: This is my favorite question I’ve ever been asked, lol, thank you!

So… In my world, Death has been in love with the Muse for thousands of years, but without reciprocation. The Muse chose life and art instead, so Death’s revenge is taking all life. But, through the Muse, through art, our stories will continue on, leaving Death defeated. Also, I am noticing in real time how heavily influenced I am by the whispers of the Muse and it’s interesting to see what happens and how it affects my art in the short and long term. I wager by the end of my journey, we will see the real face of the Muse and the shrine built for Her. 

CK: Which of your pieces do you feel the strongest emotional connection to and why? Which piece feels the most personal?

ACK: Hmmm… I have one piece I have not minted yet. It’s sitting here on my iMac and my phone and I think it is the most powerful piece I’ve made thus far. I think because it reveals the true face of the Muse.

As far as minted works go, I would say my piece “crypto art” because its whole theme is based on the emotions I felt while creating it. Also, “til death do us part” because I often worry I am running out of time to update it.

‘crypto art’. ACK, 2022.

‘she loves me not’. ACK, 2022.

CK:  What advice would you offer to a new artist entering the space?

ACK: I would say; Do not follow what everyone else is doing, especially if it’s things like airdrops… focus on the art. Price low, and don’t rush to mint. I know creatives always feel like we have to get the next piece out or we will be forgotten but it’s simply not true. I’ll admit it’s a struggle though.

CK: What’s your advice on pricing for an artist putting out their first NFT? Any potential pitfalls to avoid?

ACK: I started at .1ETH and have always recommended the same but I also don’t see anything wrong with starting at .5ETH area either. 

CK: How do you approach building relationships with collectors in the NFT space? How is it different from the traditional art world?

ACK: I don’t know too much about the trad art world other than what my friends and peers tell me, but it is indeed very beneficial to have good relationships with collectors. At a minimum, good collectors will help weigh hard creative decisions, but also not be offended if you choose to go your own way. I try to not overshare art with collectors or ask too many opinions because it takes away from the mystery of it all.

CK: What ideas and technologies are you most excited about when it comes to the future of NFTs?

ACK: Being able to talk to a canvas and have it talk back. 

CK: Tell us a little bit about the ACK PFP (profile picture) project you have in the works — any new details that you can share with us? How do you hope to differentiate it from other PFP collections?

ACK: With ACKPFP I do one piece on auction, but very spaced out, and with no utility or roadmap nonsense. Certainly I will do airdrops for PFP holders at some point, but they’ll have to be patient as I don’t plan those kinds of things.

I think long term my PFP collection will be looked back on as important due to me not just dropping trash to get rich quick. I could have done a 10k PFP project but it just sounds boring and overcomplicated. Dropping it one at a time also helps avoid people who are just quick flipping. Most of the people bidding don’t seem like the type to relist the next day for a loss.

CK: You’ve already achieved so much in the NFT space in a short period of time. Longer term, what would be a dream project/collaboration for you?

ACK: I’ve wanted to branch out into trad art on occasion and release a few 1/1 prints and paintings over time. I think having art both on and off the blockchain is important for the longevity of my career. Plus, something just hits different about holding a 1/1 in hand.

Lastly, thank you so much for the interview, it’s been fun and I always appreciate someone who has thoughtful questions about the Muse, so thank you for taking the time on that. Cheers!

You can find ACK’s collection of minted pieces on SuperRare here.

39

Arianne Lapidus

Arianne Lapidus is a writer living and working in New York City. She has worked in several artistic mediums, from costume to graphic design. Arianne is a new entrant to the world of Web3 but finds that it aligns perfectly with her fixation on the intersection of technology, artistry, and design. You can find her musings on Web3 on Twitter: @arianne_tweets.

Art

Tech

Curators' Choice

Life on a Gradient: Q&A with NFT artist Krista Kim

Life on a Gradient: Q&A with NFT artist Krista Kim

Jun 16, 2022 Artist Conversations

“The Continuum Tour” Krista Kim, 2021.

Life on a Gradient: Q&A with NFT artist Krista Kim

Arianne Lapidus

2 years ago

Since NFTs have come the forefront to art, artists need only create great artwork… The Sovereign Artist.  If this is happening in the art world, then it will take over every industry. 

Krista Kim

 The first exhibition at SuperRare Labs’ NYC popup gallery is built around the theme of “Visions From Remembered Futures”: an exploration of humanism in the world of Web3. Curated by Mika Bar-On Nesher and An Rong; the artworks on display meditate on the human condition and its relation to machinery in the ever-evolving digital age.

One such featured artist is celebrated digital artist and theorist Krista Kim, whose NFT piece “Mars House” sold on SuperRare in 2021 for a record-smashing 288E ($512,000). Mars House is considered the first NFT digital house in the world. For this installment of SuperRare Magazine’s Curation Corner; Popup Gallery Manager Arianne Lapidus sat down with Krista Kim to parse her thoughts on Digital Humanism, the role of art in the decentralized web, and the exploding world of NFTs.

Artist Krista Kim

About Krista Kim

Krista Kim is a leading Metaverse artist and founder of the Techism movement (2014), whose work explores the concept of the digital consciousness. Her interest in digital technology and its revolutionary effects on human perception, media, social structures, and communication had led her to work in both digital and physical realms. Having developed her signature language of shifting gradients using digital software since 2012, her works on glass and plexi hypnotize its viewers into a trance of tranquility while her video works provide meditative experiences of color and light.  

Most recently in 2020, Kim continued to explore the creative potential to utilize screens as digital instruments of well-being by creating ‘Mars House’: a completely virtual environment using her digital zen philosophy as the first “Metaverse home” for sale as an NFT in history. The piece received global acclaim and in March 2021 was the highest-grossing sale on an NFT on SuperRare. 

In 2014, as a response to society’s over-reliance on technology, she started the Techism Movement, a philosophy that recognizes technological innovation as an artistic discipline, encouraging artists to promote digital humanism for our digital culture. 

Krista Kim’s Continuum installation was featured in Times Square every midnight in Feb 2021.  She was chosen by Louis Vuitton as a #Louis200 visionary in celebration of Louis’ 200th birthday; Krista is contributing Metaverse Editor for Singapore Vogue; Top 30 Most Influential People of the Metaverse by Read and Write Magazine; Architectural Digest AD100, NFTy50 by Fortune Magazine. Kim made an iconic collaboration with Lanvin in 2018. In 2021, Kim collaborated with Mercedes Benz EQS and she was part of the “Proof of Art” exhibition at Francisco Carolinum Museum (Linz, Austria).  Kim was creative director for the Utah Jazz NBA Team, “JazzXR” campaign, the first Sports Team Metaverse NFT in history.  She was also in a curated auction by Steve Aoki at Sotheby’s and a curated auction for Christie’s by nftnow.  Mars House is exhibited at the Hermitage State Museum, “Ethereal Aether” in 2021. Her work in on exhibition at Palazzo Strozzi for the “Let’s Get Digital” exhibition, May 17 – July 31, 2022.

Q& A With Krista Kim

AL: Your record-breaking piece “Mars House” is featured in our Visions from Remembered Futures show at the SuperRare gallery. What inspired you to make this piece? 

KK: I created Mars House during the height of the COVID lockdowns from February to May of 2020.  While under quarantine with my two kids in my condo in Toronto, I began to daydream about my dream home to visit in VR. I decided to design and build it after researching the Samsung wall, which launched that year.  I wanted to create a house, where the ceiling and floor are a uniform LED screen substrate, displaying my meditative artwork, as a complete, meditative experience. 

I have been creating VR meditative immersive experiences since 2018, so I wanted to visit and experience the home in VR. I chose to build on Unreal Engine. 

AL: What role do you see digital architecture playing in our future?

KK: Architecture will never be the same.  The Mars House brought the world’s attention to NFT real estate, architecture and the Metaverse.  I love design, and with the global pandemic, I designed anti-microbial furniture in glass.  I wanted the furniture to be sustainable.

We are still early, but very soon, our hardware will be so advanced, that the fidelity of digital architecture will become indistinguishable from reality. Meaning, that Virtual Reality will become hyper real, and Augumented Reality will enhance architecture with a digital layer of interactive experience.

Creating a new architectural project in real life will be experienced on-site in AR; transforming the decision making and creative process of development planning. We will purchase the digital twin NFT of our physical homes.  Digital Twin NFTs will serve as a deed of ownership in the future. 

KK: I don’t agree with the current land grab of Metaverse platforms.  I think it’s a bubble.  I believe the future will be driven by experience economies; where communities will be activated through meaningful, immersive, ticketed experiences in beautiful spaces that are surreal and imaginative.  I think it is silly to recreate shopping malls in the Metaverse.  People want to be inspired in the Metaverse, and only art can deliver that outcome.

Krista Kim, Mars House, 2021.

Krista Kim, Mars House, 2021.

AL: Do you find there are connections between the confines of COVID isolation and creation of a digital home?

KK: COVID has accelerated digitization on every level.  It is because of the COVID lockdowns, that I created the Mars House—a house of healing and meditation in the Metaverse. This house was my VR escape from the confines of my condo in Toronto.  It was a truly liberating exercise under confinement, and it was extremely beneficial for my mental well being.  So may artists created great works of art during COVID. 

AL: In your manifesto on Techism (2014), the digital humanist movement that you defined and created, you state; “Techism is not a movement that stands in opposition to older practices…Artists can decide when and which practices to adopt and discard with each phase of creation.” What practices or inspirations do you implement in your work, and which do you eschew?

 KK: I am interested in the leading edge of the Metaverse, technology, life-extension, well-being, community building, government, blockchain, and education.  I aspire to co-create with leaders of these fields, to integrate the power of art to change our world for the better. 

​AL: You’ve collaborated with several storied fashion houses, such as Louis Vuitton, as well as being an editor for Vogue Singapore. What is the appeal of the Fashion Industry for you? Do you think these established brands will drive innovation in the Web3 space?

KK: Art is driving innovation in the space, and the major fashion brands are following.  Everyone is watching what the art NFT community is doing and learning how to create a new world.  That is why it is our responsibility to create with absolute integrity, ingenuity, and passion. 

“The Continuum Tour” on display in Times Square, NYC. February, 2022.

KK: I am building worlds in the Metaverse.  My new start up, 0.xyz, is launching very soon.  I have teamed up with the best team of Web3. Futurists, Artists, Innovators, Philanthropists, Scientists, Professors, Gurus, Tech leaders, and Institutions.  We are creating a Metaverse of culturally-uplifting experiences. Pioneering innovation in education, health, wellness, luxury, art, and travel.  We believe in a future Metaverse that is high-fidelity, artistically groundbreaking, humanist, and a new frontier of human civilization.  I am promoting the sovereign-being of Web 3 and the Metaverse, in an open, interoperable and decentralize Metaverse.

I am also continuing my vision of the Continuum Tour, which displayed in Times Square in February of this year. It is currently showing in Milan at Cardona Square in Milan until June 19th. The next stop will be revealed soon.

We’re so glad Krista Kim stopped by to give us all more insight into her thoughts and ideas for a Web3 future. Join us next time in Curation Corner for another deep dive with a rule-breaking, genre defining, SuperRare Artist.

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Arianne Lapidus

Arianne Lapidus is a writer living and working in New York City. She has worked in several artistic mediums, from costume to graphic design. Arianne is a new entrant to the world of Web3 but finds that it aligns perfectly with her fixation on the intersection of technology, artistry, and design. You can find her musings on Web3 on Twitter: @arianne_tweets.

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