As with many online connections that have emerged from the NFT world, ripcache and I met ever so formally in Twitter DMs.I was immediately drawn to their 1-bit pixel visual language and themes that cover the ever looming surveillance state. Yet when learning more about their self-taught skill set and passion for harnessing the power of blockchain technology as a form of art, their work took on a meaning of it’s own; so as a nod to transparency, I wanted to take our conversation out of DMs and into the public arena.

Emily May: I’m so excited to sit down with you, albeit remotely, to continue learning about your work. You know that I’m fascinated with the relationship between the transparency of blockchain transactions and the users in the Web3 space that choose to operate anonymously. You go by your pseudonym ripcache, I’d love to know how you landed on your name and the reason for existing as an anon-artist?

ripcache: ‘ripcache' is short for ‘raster image processor cache’. I chose the name because a raster image processor converts a digital graphic into 1s and 0s used by a printer to create a physical copy. The cache is a component that stores that data for faster retrieval. I also just think it sounds cool.

Using a pseudonym is a nod to the crypto ethos and to artists that I look up to, like XCopy, operating anonymously in the scene. Privacy conscious artists and writers have often gravitated toward pseudonymity. Even Orwell used a pen name.

EM: From CCTV, data harvesting, to the transparency of blockchains, the themes of surveillance culture in your work are also prominently present IRL, even if they are borderline dystopian. What is it about such technology that captures your interest?

RC: From a psychological standpoint, people act differently if they know they’re being watched. The ‘nothing to hide’ argument comes up a lot in these sorts of discussions. People feel strongly for or against that statement and I can understand why, but my stance as an artist is that sympathizing with this position is short sighted.

In regards to blockchain tech, given that every account balance and transaction is visible to everyone using the network of a public ledger like Ethereum, I think those same values and concerns, in respect to privacy, are also a concern in crypto. Approaching the blockchain as a medium for my art resonated with me for this reason and the imagery of a security camera felt like the perfect symbol to translate those experiences.

EM: You have a distinct approach of a 1-bit pixel and often monochrome aesthetic, have early computer graphics influenced your style?

RC: I see a lot of similarities between early computer graphics, the early internet, and current blockchain tech. Computers used to be much more restrained by both memory and processing power – something you have to be conscious of when interacting with ethereum, too. In both cases, processing power and storage were finite and expensive resources. Much like today, when interacting with ethereum, I had to find creative ways to be efficient in my approach. Using pixelated aesthetics and limited colour palettes was one way I could increase efficiency.

EM: Artists have always worked with emerging technologies, yet with the influx of artificial intelligence and blockchains the creation process is much more prominent in the way artists speak about their work. I’m curious to know if your toolkit and creative process holds more or less precedence to your final artworks as your style or themes do?

RC: I think a successful work of art has to be able to withstand life beyond the artist’s intent. If it can successfully deliver on the intended outcome, the toolkit and process can be a great opportunity to get further context of the work.

EM: With that being said, how important do you find sharing ‘how it’s made’ to your community and collectors?

RC: To stay true to using the blockchain as a medium, I’ve become a little obsessed with the idea of the artwork, pinned to the token, being the first instance of that artwork being uploaded to the internet. For that reason, I don’t share works-in-progress, teasers or anything like that.

EM: There are different levels to on-chain art but you’ve harnessed the technology and taken it a step further. Notably in your artwork for ‘network mythology’, can you speak more on your journey into art that exists fully on-chain?

RC: Before I speak on the topic, it’s important for me to preface this by pointing out that there’s a whole scene of incredibly talented artists that have truly pioneered the on-chain art scene before me. I’d also like to give a quick shout out to a few artists that showed me the ropes: 0xG, Yungwknd, and Nahiko. Thank you for all of your help and guidance.

With that said, I wouldn't classify myself as a creative coder or generative artist or any of that either. I consider myself more of a traditional artist that wants to explore the blockchain as a medium in a way that is tangentially technical but not necessarily focused on technical mastery. I’m more interested in making work beyond the novelty of the tech and using it to comment on universally relatable societal concerns like privacy, personal data collection, and digital (im)permanence.

EM: Can you break down the varying levels of on-chain art?

RC: I’d like to defer to Dom Hofmann’s 3 Star Rating System: The Michelin Guide to ‘on-chain’ NFTs

★ Data stored via calldata️

★★ Data stored via sstore, external script necessary to render data️️

★★★ Data stored via sstore, renderer built into contract. Outputs svg / similar data uri

EM: Given your hybrid background of traditional art education and self taught programming, are there any, personal or technical, challenges you’ve faced when entering and now existing in the cryptoart scene?

RC: The biggest difference is the relationship to patronage and the culture of every artist having their own discord server where anyone can discuss the work with others. That level of synchronous interactivity between artist, audience, and patron on a regular basis isn't as common in the traditional art world.

EM: Time moves differently in Web3 and one of your earliest crypto projects ‘forest for the trees.’ was minted just a year ago in December 2021, just over a year to the day of this interview, reflecting on this series is there anything you wish you knew back then?

RC: I really do feel like I was in the right place at the right time. I see all of the steps I’ve taken as necessary in some way and they’ve all contributed to where I am today so I can’t say I’d change anything. It’s been an incredible ride so far and if it all ended tomorrow, I’d look back with fondness on all the incredible people I’ve had the chance to meet and everything I was able to achieve.

_______________________Interview from January 2023 by Emily May, Community Manager @ DaataDaata is a platform that has been curating, commissioning and selling digital art since 2015, stay connected with us on Twitter and Instagram.

As with many online connections that have emerged from the NFT world, ripcache and I met ever so formally in Twitter DMs.I was immediately drawn to their 1-bit pixel visual language and themes that cover the ever looming surveillance state. Yet when learning more about their self-taught skill set and passion for harnessing the power of blockchain technology as a form of art, their work took on a meaning of it’s own; so as a nod to transparency, I wanted to take our conversation out of DMs and into the public arena.

Emily May: I’m so excited to sit down with you, albeit remotely, to continue learning about your work. You know that I’m fascinated with the relationship between the transparency of blockchain transactions and the users in the Web3 space that choose to operate anonymously. You go by your pseudonym ripcache, I’d love to know how you landed on your name and the reason for existing as an anon-artist?

ripcache: ‘ripcache' is short for ‘raster image processor cache’. I chose the name because a raster image processor converts a digital graphic into 1s and 0s used by a printer to create a physical copy. The cache is a component that stores that data for faster retrieval. I also just think it sounds cool.

Using a pseudonym is a nod to the crypto ethos and to artists that I look up to, like XCopy, operating anonymously in the scene. Privacy conscious artists and writers have often gravitated toward pseudonymity. Even Orwell used a pen name.

EM: From CCTV, data harvesting, to the transparency of blockchains, the themes of surveillance culture in your work are also prominently present IRL, even if they are borderline dystopian. What is it about such technology that captures your interest?

RC: From a psychological standpoint, people act differently if they know they’re being watched. The ‘nothing to hide’ argument comes up a lot in these sorts of discussions. People feel strongly for or against that statement and I can understand why, but my stance as an artist is that sympathizing with this position is short sighted.

In regards to blockchain tech, given that every account balance and transaction is visible to everyone using the network of a public ledger like Ethereum, I think those same values and concerns, in respect to privacy, are also a concern in crypto. Approaching the blockchain as a medium for my art resonated with me for this reason and the imagery of a security camera felt like the perfect symbol to translate those experiences.

EM: You have a distinct approach of a 1-bit pixel and often monochrome aesthetic, have early computer graphics influenced your style?

RC: I see a lot of similarities between early computer graphics, the early internet, and current blockchain tech. Computers used to be much more restrained by both memory and processing power – something you have to be conscious of when interacting with ethereum, too. In both cases, processing power and storage were finite and expensive resources. Much like today, when interacting with ethereum, I had to find creative ways to be efficient in my approach. Using pixelated aesthetics and limited colour palettes was one way I could increase efficiency.

EM: Artists have always worked with emerging technologies, yet with the influx of artificial intelligence and blockchains the creation process is much more prominent in the way artists speak about their work. I’m curious to know if your toolkit and creative process holds more or less precedence to your final artworks as your style or themes do?

RC: I think a successful work of art has to be able to withstand life beyond the artist’s intent. If it can successfully deliver on the intended outcome, the toolkit and process can be a great opportunity to get further context of the work.

EM: With that being said, how important do you find sharing ‘how it’s made’ to your community and collectors?

RC: To stay true to using the blockchain as a medium, I’ve become a little obsessed with the idea of the artwork, pinned to the token, being the first instance of that artwork being uploaded to the internet. For that reason, I don’t share works-in-progress, teasers or anything like that.

EM: There are different levels to on-chain art but you’ve harnessed the technology and taken it a step further. Notably in your artwork for ‘network mythology’, can you speak more on your journey into art that exists fully on-chain?

RC: Before I speak on the topic, it’s important for me to preface this by pointing out that there’s a whole scene of incredibly talented artists that have truly pioneered the on-chain art scene before me. I’d also like to give a quick shout out to a few artists that showed me the ropes: 0xG, Yungwknd, and Nahiko. Thank you for all of your help and guidance.

With that said, I wouldn't classify myself as a creative coder or generative artist or any of that either. I consider myself more of a traditional artist that wants to explore the blockchain as a medium in a way that is tangentially technical but not necessarily focused on technical mastery. I’m more interested in making work beyond the novelty of the tech and using it to comment on universally relatable societal concerns like privacy, personal data collection, and digital (im)permanence.

EM: Can you break down the varying levels of on-chain art?

RC: I’d like to defer to Dom Hofmann’s 3 Star Rating System: The Michelin Guide to ‘on-chain’ NFTs

★ Data stored via calldata️

★★ Data stored via sstore, external script necessary to render data️️

★★★ Data stored via sstore, renderer built into contract. Outputs svg / similar data uri

EM: Given your hybrid background of traditional art education and self taught programming, are there any, personal or technical, challenges you’ve faced when entering and now existing in the cryptoart scene?

RC: The biggest difference is the relationship to patronage and the culture of every artist having their own discord server where anyone can discuss the work with others. That level of synchronous interactivity between artist, audience, and patron on a regular basis isn't as common in the traditional art world.

EM: Time moves differently in Web3 and one of your earliest crypto projects ‘forest for the trees.’ was minted just a year ago in December 2021, just over a year to the day of this interview, reflecting on this series is there anything you wish you knew back then?

RC: I really do feel like I was in the right place at the right time. I see all of the steps I’ve taken as necessary in some way and they’ve all contributed to where I am today so I can’t say I’d change anything. It’s been an incredible ride so far and if it all ended tomorrow, I’d look back with fondness on all the incredible people I’ve had the chance to meet and everything I was able to achieve.

_______________________Interview from January 2023 by Emily May, Community Manager @ DaataDaata is a platform that has been curating, commissioning and selling digital art since 2015, stay connected with us on Twitter and Instagram.