Editorial is open for submissions: [email protected]

A first for this renown gallery, who decided to enter the NFT world with the AI artists collective. 

Kamel Mennour proposes his first NFT project, with the collective Obvious. 

Kamel Mennour is one of the world’s most renowned galleries. The gallery is present in most of the international fairs and represents some of the world’s most influential artists (Anish Kapoor, Daniel Buren, Huang Yong Ping). 

The collective Obvious, composed of three young French artists, are OG artists on SuperRare (joined in April 2018), and their work have focused on creations using artificial intelligence, placing themselves at the frontier of art, science, mathematics and technology. Notably, they created “Edmond de Belamy”, the first AI art work auctioned in a major auction house in October 2018. Their work has been celebrated around the world and recently exhibited at the Hermitage Museum in St. Petersburg and the National Museum of China in Beijing. 

“This project is entitled Portraying. It is made of a series of three portraits, each embodying a connection between painting and an aspect identified by Obvious as a part of the “classical portrait” – perspective, pigment in a tube, photography. Obvious stands in opposition to those who see art created with artificial intelligence as a negation of art in its current forms; the collective seeks instead to mirror art, to create a reflection of it, always shifting. 

These three video portraits, given titles in baroque Latin, are each inspired by a specific figure: Leon Battista Alberti for Perspettiva Albertiana; Louis Daguerre for Bellum Tempus; John G. Rand for Acies Color – a play on the transpositions of their names in Latin. Just as the “classical portrait” is a fiction invented at the very moment it is named, Latin serves as a common language belonging to the past. In this way, these works give a face to three metamorphoses of art made possible by technical changes. 

Obvious’s work does not seek to reject the history of art: on the contrary, they make it their subject, from a post-post-modern perspective. Obvious highlights the fact that art created using artificial intelligence, especially in the NFT format, can be made with the history of art itself as its material. It is then a matter of reconnecting with art history. Digital art is therefore no longer seen as an end of history, but on the contrary a return to it, from a perspective that is both candid – it is not a matter of a precise reference to this or that painting, following the prospect of connoisseurship – and passionate: history is the material. 

The first photographers were painters’ best allies: such as Vallou de Villeneuve, who challenged and inspired Courbet. Painting, from Delacroix to Courbet, Degas and Manet, had to confront this new medium. Cinema – a new genre, new technology – drew heavily from painting. When facing the current development of artificial intelligence in art, we might recall Baudelaire’s comments in “The Salon of 1859”: “Day by day, art diminishes respect for itself, prostrates itself in front of external reality, and the painter becomes more and more inclined to paint, not what he dreams, but what he sees. However, it is a joy to dream, and it was a glory to express what one dreamed of; but what am I saying! does the painter still know this happiness?” With the Portraying series, this very question of the gaze and of taste is at stake: what is one to think about these works made from more than ten thousand works each? 

At a time when many artists are addressing the methodologies of digital art and in particular NFT’s in particular, Kamel Mennour wished to feature the work of young French artists who have been creating a body of work within this technology for several years. With this technology, they weave new narratives, shaping an alternative history of art, in the time of spread-out moving images. This digital project will be Kamel Mennour’s first presence on the SuperRare platform.

Quote by philosopher and art critic Donatien Grau 

Auction: 15-22 April 2021

Editorial is open for submissions: [email protected]

Introduction

Travis LeRoy Southworth is a visual artist based in New Jersey whose work focuses on image manipulation, computerized labor, and self-perception. He helped beta-test the SuperRare platform in early 2018 and created his first work on the platform that April. He has exhibited at Super Dutchess, Undercurrent, Mixed Greens Gallery, Dock Gallery, Ortega y Gasset, Martha Otero Gallery, The Bronx Museum of the Arts, The Museum of Contemporary Digital Art and The Drawing Center. His work has been written about in Artsy, The New York Times, and Art Slant. He was awarded a NYFA Fellowship in Photography and a residency in Switzerland that involved a project with the Large Hadron Collider at CERN. Southworth holds a MFA from The School of the Art Institute of Chicago.

Tell us about your work.

We live in a strange world where we touch screens more than the ones we love. Much of my artistic practice revolves around digital representations of the body. I mainly work in series tied to specific conceptual ideas, but they often overlap and blend into one another. By day, I work as an image correction specialist in the beauty industry, spending several hours a day in a dark room while carefully removing facial imperfections. This work profoundly informs my art practice as I stockpile hundreds of blemishes, color adjustments and digital masks to construct new portraits. 

My practice engages the use of computer software as it removes all traces of my hand— the process iterates the disappearance of the physical body on and off the screen. With this work, I aim to express the complexity of the 21st-century identity, and the disconnect between the body and those around us. 

Have you always worked digitally?

I started out in painting and drawing but always had an affinity for photography and computers. I began integrating digital technology into my art practice in the late 1990s. I think it was Photoshop 4.0; the use of Layers came out in the previous version and now there were Adjustment Layers, which was huge at the time. While I did learn all the traditional darkroom techniques in photography I spent a lot of time scanning photographs, transparencies and working digitally. In the end, my work melded these media together as I create paintings through computer software that are based on photographic remnants. 

How did you get started in blockchain and cryptoart?

I started to get into blockchain around 2017. The idea that there could be a digital currency and ownership could be proven through connected computer networks really made sense to me. I wondered if the same could be applied to digital artworks. In early 2018 I read about Jason Bailey’s article on Artnome “What is CryptoArt?” which became the intro article for people wanting to learn more about art and blockchain. I ended up contacting Jason and talking to him on the phone for quite a while, he is such a generous and amazing person. An artist friend of mine Jessica Angel, whom I previously exhibited with, started an ‘Art on the Blockchain’ Telegram channel. That is how I met most of the people in the space. Sadly, I missed the first Rare AF in January of 2018 but ended up exhibiting work at the Ethereal Summit 2018 at the Knockdown Center. I met and later became friends with Kevin Abosch, the Irish conceptual artist who often uses blockchain in his work, most recently his 1111 Project. I became reacquainted with the new media artists Jennifer and Kevin McCoy. Kevin built Monegraph in 2014 as part of the Rhizome Seven On Seven conference with Anil Dash. This was the first platform for artists to use cryptography to bring scarcity to digital art online. Other super early fascinating projects include Sarah Meyohas “BitchCoin”, Cryptograffi’s work and Marguerite Chritine AKA “Coin Artist” Bitcoin Puzzle Paintings. From there it spiraled, learning about all the amazing artists experimenting in the space. There are too many to list and we still need some sort of open source “CryptoArt WikiHistory” but Martin Lukas Ostachowksi has compiled a rather extensive list on “The History of CryptoArt.”

A number of your works on SuperRare have a soft ethereal quality to them, could you talk more about those.

In my series “Color, Balance,” bodily artifacts removed from fashion photography become the base for paintings I create in Photoshop. I add subtle layers of digital paint and push pixels to blend the figure’s remnants into the background. I use color as a spatial feature, shifting away the boundary of the body to blur lines between abstraction and figuration. For physical works, I create unique pigmented prints on satin, canvas, and paper blends. Each piece has a fine texture I liken to skin. I drape my silk works over precarious wire structures, allowing them to float and shift upon the presence of a physical body or gentle breeze. 

In response to the growing demands of the screen, I strive to balance the off-kilter relationship between digital and physical space. One aspect of this practice involves drawing attention to dysmorphia in the beauty industry. Titles for pieces such as “No cookie-cutter” and “You’ve lost all of my shape” often come from workplace comments about photographs I have edited. They point to the pernicious absurdity of the mutable digital body. 

You’ve exhibited your work at a number of galleries, why sell digital art as NFTs?

While I’ve had amazing opportunities to present my work, the traditional gallery system doesn’t work for all artists as a method to sustain an art practice. The biggest reason for myself was that artist royalties are built into sales when using the same NFT platform. Artists have been fighting for years to get a small percentage of secondary sales when their work is sold again after it leaves their studio. In early 2018, Amy Whitaker and Roman Kräussl wrote a terrific paper titled “Blockchain, Fractional Ownership, and the Future of Creative Work.” While there is a lot to unpack, it outlines how if certain artists had retained 10% equity in their work and had been given the returns or royalty each time the artwork was sold on the secondary market it would have outperformed the stock market many times over. This would have provided a sustainable income for artists to continue producing their work. Blockchain and NFTs are a viable platform for artists, allowing for 10% of each purchase to go directly to their digital wallet immediately upon sale. This would free many artists to focus more fully on their artistic practice.

How did you hear about SuperRare?

I can’t remember if I heard about SuperRare (back then Pixura) through the Telegram channel or some other channel. I jumped on the opportunity to beta-test their platform and knew its potential. I met Jonathan Perkins and John Crain in early 2018 and talked about what this could potentially do for artists. They have been an amazing force for artists, the whole team at SR has done such a great job over the years engaging the community, getting artists interested in NFTs and connecting with collectors. 

How have you been holding out the past year?

The past year has definitely been a struggle for many of us. Especially artists who have had to redefine their practice in an era of a pandemic. It’s been especially difficult separating my art and life space, as both my wife and I work from home, often with our five-year old running amuck. I spent the better part of a year working in my basement studio on a new project “Familiar Faces” which is a series of soft gestural black and white portraits that deals with my experience of the COVID-19 pandemic. Avoiding physical contact with people and maintaining distance feels unnatural, especially in densely populated areas like New York and New Jersey. Even in my neighborhood, familiar faces began to appear strange, and unrecognizable due to masks, more limited interactions and an absence of response. I started this work because the current moment resembles an urban fog from a dystopian novel, where faces appear distorted, and figures disappear into a colorless haze.

I am excited to say I just finished an artist residency with Super Dutchess Gallery, NYC wrapping up some of the pieces from “Familiar Faces.” We presented a solo virtual exhibition titled “Human Nature Perfectly” which opened on March 22nd 2021. It explored the isolation and the felt effect of COVID-19, marking a year since the lockdown.

Editorial is open for submissions: [email protected]

Thomas Loopstra and Maurice Baltissen work both as 3D designers for Mitsi Studio, an international award-winning studio based in The Hague, The Netherlands. The last 2 years they won 15 international movie awards with their animation short “How Countries Fight Their Wars’’. Now they are starting to publish their latest works on SuperRare, and the project “Wheel of Fortune” is their very first to be launched.

With the rise of crypto currency came the rise of the ‘digital gold rush’. A spin on the Wheel of Fortune for better or for worse for many daredevils. This artwork shows the stages of successes and downfalls for its participants within the crypto market. It shows the dark contrasts between success and failure and the thin line that lies between these worlds.

Many people are going through the long struggle of gaining momentum with their crypto investments, we see them climbing the coin trying to reach ‘’the top’’, a world of luxury, yachts, expensive cars and private jets. This is the world of the lucky few, or the world where people are able to create their luck. We see their body language expressing that they have forgotten a world including worries and cares. They have made it and there is no reason to look down, only up. With ignorance they believe they are looking towards what is about to come, but there is only one alternative path after the top, and that is down! On the other side of the coin, we see people in a downfall, they have reached the top, enjoyed the lavish lifestyle and seem in distress and panicking while they fall down. Below we see people in different states, some are motionless, some look like they are trying to recover.

This art piece shows the strong turbulence of the crypto market and its connection to the emotions of people. While the market is a completely digital world, the people affected by it are not, although their reactions are just as fluctuant and unpredictable as the world of crypto itself.

The coin is placed in a brutalist environment, the dark dirt on the wall symbolizes the jigsaw pattern of the crypto chart, with a central light from the ceiling the whole room looks very colorless and makes the golden statue pop out more. The dark hallways make the contrast even stronger for some brief moments to make the shapes of the figures and coin extra visible.

When our artists create new content, we are telling a story, show something different, unusual and make the viewer see things from other perspectives. In this case we are showing people that the crypto market is a rollercoaster of successes and failures. It made people millionaires in days to weeks. On the other hand, it destroyed people’s lives overnight. Since so many people got involved over time, many people know ‘’those’’ as their colleagues, friends or family members. Who knows where we are on the coin right now? Are we climbing? Are we on the top of the world or, are we looking down into deep depths?

Editorial is open for submissions: [email protected]

World Renowned Ink Artist

Yuan Jinhua was born in Hangzhou, China in 1964. He graduated from the China Art Institute with B.A in Chinese Painting in 1988 and was conferred his Ph.D. in Arts by the same in 2009. Yuan is a world renowned ink artist and one of the foremost representatives of China’s modern art history. He is also the director of the Portrait Studio at the Zhejiang Painting Academy and serves on the committee of Association of Chinese Artists.

Since 1990, Yuan has been the subject of over one hundred group exhibitions, including 57th Venice Biennale in Italy and Milan Design Week (2017). Yuan has made a name for himself among many public institutions and art collectors, with his pieces frequently being sold at auction. His series of work ‘Embraces’ sold for $73,755 at Sotheby’s in 2015. Yuan is the first Chinese artist selected for Foundation Beyeler Summer Night’s Gala: A Benefit Auction for Foundation Beyeler 2018 in Basel, Switzerland. The Foundation Beyeler has extremely strict requirements for the works selected for the charity auction – all the works are from world-famous collectors, galleries and art foundations. Yuan’s work ‘Sea of Clouds’ represented Chinese contemporary ink painting and was auctioned alongside other world-class works of art from Lucas Arruda, Roni Horn, Philippe Parreno and other 10 contemporary artists. China Art Museum, Shanghai Art Museum, China National Museum, Zhejiang Art Museum, Eckenstein-Geigy foundation and many other public institutions worldwide have collected Yuan’s works into their permanent collections. He has also been listed in Record Today for The Future, which is an art collection project jointly sponsored by the American Academy of Asian Culture, the American Folklife Center and Library of Congress. 

Yuan’s works are representative of contemporary ink art’s increased focus on concept rather than craftsmanship. His artistic approach was greatly influenced by the ‘85 Movement’, also known as the ’85 New Wave’, refers to the boom of artistic activity by artists working within groups in cities all over China during the mid-1980s. The 1980s in China represented a kind of explosive answer to the Cultural Revolution of the 1960s and 70s, when China was not only cut off from the rest of the world but was also forced to disown and renounce its own culture. Suppression of such a powerful culture could only be met with an equal and opposite force. The momentum of this collective movement underpinned the Chinese avant-garde that emerged internationally in the early 1990s and would later have a significant impact on an increasingly globalized art world. Yuan Jinhua’s keen awareness of contemporary issues since then is vividly captured and expressed in his works. He is an unflagging artist in his constant experimentation with various subject matters, symbolism and methodology while creating through an intellectual discourse on prevailing issues and contrasts between east – west, rational – sensual, national – individual. His singular style is the result of his thoughtful eloquence and masterful composition through a traditional medium. Drawing from classical Chinese aesthetic and philosophy, Yuan places thoughtful strokes on the paper and adapts millennia-old techniques to the expressionistic and conceptual context of contemporary art. His works elevate the traditional ink painting language to an experimental level that is made relevant to political and social statement. 

Series of Work ‘Embraces’

In his series of ink painting works, known as ‘Embraces’, which is an important work that Yuan Jinhua integrated based on his original semi-abstract symbols after 2006. The stacking geometric little human figures appear in the background motifs of various traditional Chinese ink painting. It reflects the painter’s personal thoughts on the relationships between the individual and the collective; human being and the environment as well as the western culture and eastern culture. The “huggie” symbol the artist created through the “Embraces” series is unique on a global scale. Thus, because of its “constructive” rather than “deconstructive” characteristic, has drawn a clear line from the previous art genre that prevails nihilism and criticism. Yuan’s new approach might develop a new trend for the creativities of Chinese ink painting and lead to the new stage.

Also, the imageries from ‘Embraces’ that Yuan brought up is extremely relevant in today’s narrative. It seems unclear whether the world has become simpler or more complicated. However, the artist thinks that the modern society we lived in is becoming more and more monotonous. “In this clockwork world, one thing for sure is that people-to-people relationships is indifferent and utilitarian,” Yuan once stated. The series of works that he produced are aimed to bring back the inner kindness and peace that people once hold for each other, expressing an attitude of treating people equally, spurning selfishness, abandoning all burdens and boundaries. The “embraces” of the little human figures symbolized warmth, intimacy, trust, dependence, and positiveness in a way. Yuan uses those simplified human figures as a vessel to appeal for the return of the most basic natural state of human being — no discrimination, no bias, no prejudice, and without restraint.

In addition to his ink paintings, Yuan has also applied his iconic symbol on ceramic and digital practices. This is the first time that Yuan present his digital version of his ‘Embraces’ series to the public. The animation of ‘Embraces’ are based on the second phase of this series which only have 28 pieces prior to 2011. Starting as of 2012, hundreds of works were completed on an experimental basis and some of them selected by the artist to further expand. The animation creative team put efforts into the digital practices for over seven months, and 10 pieces were finally completed. These works are not merely animation, for this series of works represents Yuan’s new attempt, through animation based on contemporary ink paintings, to create a kind of vertical, dynamic concept for the ‘huggie’ symbol. By this concept, the relations between the characters and between characters and the environment can be stable but can also be dynamic and transient. This series has further developed the concept of ‘Embrace’ as an act, while adding more temporal and spatial dimensions to the core idea. 

Prayer

Much attention of Yuan Jinhua is focused on the modern consumerism which is stimulating the appetite for instant gratification and irrational self-expression. The excessive consumption, war, pollution, and human nature all make Yuan keep thinking about the question of peace. He doubts if harmony is possible in people-to-people and people-to-nature relationships. ‘Prayer’ express Yuan’s wish of the inner kindness and peace that people should have for each other, expressing an attitude of treating people equally, spurning selfishness, abandoning all burdens and boundaries. Also, this work is seeking to better represent the connection between people in terms of spiritual power. The ‘huggie’ symbol is not just a purely material substance, but also intangible and abstract. The subjects of ‘Prayer’ are infinite and unlimited– it can be a religious symbol, nature, or any other subject that can receive feedback of spiritual power, including the behavior of embrace itself.

Catcher

This work represents a kind of pursuit, adventure and seeking. It’s symbolizes result-oriented exploration into the boundary of ‘embrace’ as a behavior. The pink flying bird is an abstract expression of all individuals’ dreams, group objectives, and individual’s free will. In another dimension, when two people hold a person up in their arms, only the top one thus capturing the pink flying bird with an abstract significance. Does this signify the sacrifice because of collectivism or the success of heroism? Or something else? 

Flame

‘Flame’ represents the attitude that human beings are connected with each other to overcome all crises that we are facing in the modern world. This work features multiple dimensions including individuals cannot thrive alone since escaping would bring on a greater disaster. On the other hand, confrontation with the crisis may also results in some inevitable harm  in some cases. The artist expresses his tribute to the solidarity and also his doubts of self-sacrifice of humans as well.

Editorial is open for submissions: [email protected]

by Michael Jordan

The art of life is to show your hand. 

E.V LUCAS

I am excited to announce the minting of my 100th piece on SuperRare. It is called The NFT Community. It features over 170 artists’ hands, and it is dedicated to all the amazing people in the crypto art space. It is a celebration and in this article I’ll share more about the inspiration, the meaning, the background and some of the artists who have contributed. A special thank you to fellow artist Ziggy Ray who has assisted me with contacting and collecting hands from artists all over the world.

The Inspiration:

In my grandparent’s house, there was a picture of Praying Hands (1508) by Albrecht Durer. I was told that he was a master because it requires tremendous skill to draw a hand, and so since my childhood, I’ve been an admirer of his work. Albrecht Durer had a distinct signature, a big A over a little D. In 2016 when I started exhibiting my pieces in galleries, I mimicked this style by having my signature as a big M over a little J. I studied Actuarial Science, and during a maths lecture, I came across Albrecht Durer once again. This time for his piece Melencolia (1514) which included a 4×4 Magic Square where the numbers 1 to 16 were arranged in such a way that every row, column and diagonal summed to 34. I saw that maths and art have a lot more in common than I first thought. Originally I wanted 100 hands because this will be my 100th NFT on SuperRare, but we got such positive feedback from the community and I wanted to accept everyone who submitted that we went way past 100 artists. I thought of having 34 slides to reference Durer’s magic square, but that would have resulted in leaving some hands out. So instead, the final piece has 44 slides with 176 artists’ hands in total.

Some artists used this opportunity to flex their creative spirit and sent in these pictures:

The Meaning:

I believe NFTs have become successful because of the community and everyone’s willingness to lend a “hand” to newcomers. This piece celebrates the community. It focuses on the hands of the artists who have used them to create awe-inspiring work. This NFT also alludes to one of the very first collaborative pieces of art – the Cave of the Hands in Patagonia, created more than 9000 years ago. Since prehistoric times, we have needed each other to survive, and art brings us together. Art is more than just a wall decoration, it is part of the cultural glue that binds us together.

The Artists

One of the reasons why I felt confident enough to start exhibiting my works in galleries is because I didn’t get the contemporary art scene. I bought a book on the top 100 contemporary artists and only liked the work of Takashi Murakami. I honestly felt like art was losing its direction and that we needed to bring it back to its roots. A lot of my pieces are inspired by renaissance and romantic artists. When I started exploring the crypto art space I was excited but filled with dread. These digital artists are incredible and they honestly make me feel inferior at times. Which is a good thing, it motivates me to push harder and be more ambitious with my NFTs. It was very audacious of Ziggy and I to approach some of the biggest names in the crypto art space and ask for a picture of their hand. I thought at best we were going to be ignored, at worst, we were going to get blocked by Twitter for spamming. To my astonishment, many replied. This is just another testament of how amazing this community is that the people at the very top are prepared to, quite literally, lend a hand to the rest of us who are still climbing. 

So a huge thank you to the following artists and many others:

mbsjq

Fasten your seatbelt as UK Born mbsjq will blast you into a universe filled with colour surprises and innovative designs.

zomax

Cornelius Dämmrich started at a young age by drawing a naked homunculus with a machine gun and exploding planes when he was just 6 years old.

Coldie

When I joined SuperRare, Coldie was the first artist that drew my attention with his Vitalik piece and will definitely go down in history as one of the greatest. He is also a collector and made my day when he purchased one of my early NFTs. 

Muartive

It shapes its skills according to the art trends of the digital world with artificial intelligence and computer-generated imagination methods.

Tim Riopelle

Tim Riopelle blends science fiction with elements of abstraction and surrealism to create other worldly images. Placing a strong emphasis on color and texture, his work strives to open a portal for the viewer to enter a strange and beautiful universe.

@otherworlds

A psychedelic and surreal digital artist creating a mix of collages and illustrations.

@Thato

Thato Tatai is a South African contemporary artist. He is fascinated by the endless oscillation of meaning and his work explores the relationship between technology and creativity. 

Vegard Aarhus

The creating genius behind Mathilda and other crazy creatures. I absolutely love the work of this Norwegian artist.

Yura Miron

“Visionary artist/musician/collector. Inspired by my visionary psychedelic experiences, lucid dreaming, meditation. Trying to be present every moment of my life. Working with such themes as: fusion of nature and technology, solarpunk, science fiction, spiritual texts of dzogchen/buddhism, nature of consciousness & reality.”

ZY

Zack is the man who got me onto SuperRare and for that I am very grateful. He is also a master collaborator and creates pieces with our artists that feature roses. 

Michael Jordan

And here is my hand along with one of my pieces. Once again, it is such a privilege to be on SuperRare amongst all these incredible artists.

Lethabo

Lethabo Huma is a digital artist from Pretoria , South Africa. She uses her work as a mirror to her emotional responses to life experiences. Her drawing style has evolved from soft textures to more expressive brushwork. She draws inspiration from images that trigger emotions from life stories worth telling.

Retric Dreams

Max is a Digital 3D Artist creating dreamy melancholic artworks of timeless moments & distant memories. He is currently based in Germany and has been dealing with computer graphics for the past 9 years. He captures emotions of nostalgia wrapped in a purple nighttime world.”

Jason Ebeyer

3D Artist and Art Director Jason Ebeyer is known globally for his glossy figures & sensual style of artwork. Blending elements of fashion & technology with hyper surreal alien-like plastic models, seemingly plucked from the dreams of the digital generation. He has received acclaim around the world for his works unique fusion of soft emotions & erotic ecstasy. Producing artwork for the likes of Vogue Italia, V Magazine, Universal Music, Nike, Steve Aoki, Cardi B, Troye Sivan & Doja Cat.

Mighty Moose

Mighty Moose uses art as an outlet for thought, whether they are good, bad, deep, shallow, funny or dark.

Daniella Attfield

Daniella is a 22 year old South African artist and bookworm. She has done many successful collaborations and is one of the most recognisable artists in the space.

t.a.r.e

I’ve been the proud owner of more than one of Rob’s pieces. He uses computer algorithms to come up with stunning designs.

janne.limited

Janne creates animated collages in which the physical is mixed with digital. From this, new poetic worlds arise in which one does not know exactly whether they are real or not.

Dániel Taylor

Surrealism is at the heart of Dániel’s work and he enjoys the challenge of establishing its presence even as he varies his technique and approach. Clients include: Adobe, Marvel, Mondo, Playboy, Shedworks (Sable), Brewdog.

Corentin G.

French visual artist bringing his vision to reality through different mediums.

danieljakobian

I’ve also had the pleasure of owning one of Daniel’s pieces. I ended up selling it to another artist whose hand is also part of this mass collaboration project.

Conclusion

There are still another 150 artists that I need to talk about and so I’ll be writing another article to mention them and share their work. This piece wouldn’t be possible without everyone’s input and willingness to participate. I definitely want to give back to the community after an experience like this and want to assist some of the other artists in South Africa who might not be familiar with the crypto scene. If it means paying gas fees, plugging them into the community or teaching them about the benefits of blockchain technology, I feel motivated to give back. Please click the link below to see the final piece on SuperRare and tap the little heart icon if you like it.

Now join your hands, and with your hands your hearts.

WILLIAM SHAKESPEARE