I'm excited to share an exclusive interview with generative artist Juan Rodríguez García (JRG), in collaboration with ARTXCODE, to celebrate his recent signing with the renowned art house.

I first met Juan in Mexico City at the 2022 Bright Moments event, where he unveiled his debut generative long-form series, ‘Caminos’. Since then, I've watched his remarkable evolution as an artist. In this conversation, Juan reflects on his early beginnings in art, the development of his creative practice, and the significance of being represented by ARTXCODE for his future.

Note: The interview was originally conducted in Spanish and has been translated for this publication.

Kaloh: Tell us a bit about your beginnings in the art world, particularly in digital art. How did you start in this field?

JRG: As I’ve mentioned on other occasions, my process was quite natural. About 11 or 12 years ago, I finished my architecture degree. I was always interested in composition and design. After graduating, I started working at some architecture firms, focusing on design but also on more constructive aspects, like drafting plans.

Parallel to this work, I developed a fondness for creating things on the computer. I used software to render my designs and shared them on my social media.

Eventually, I found more tools and technologies. As I worked with these, I encountered the software Grasshopper, a plugin for Rhino. This allowed me to develop compositions through code, an algorithm. I gradually moved on to P5, an open-source language that didn't require a license, wasn't heavy on resources, and allowed me to focus on composition rather than construction. This process led me to become more interested in composition. From the first moment I used Grasshopper, I loved being able to explore architectural concepts that I had learned and practiced. These concepts, like rhythm, repetition, and color, have evolved in my daily practice.

Kaloh: In what year did you get that plugin and start working with it?

JRG: I finished my degree in 2014, and I think I started exploring these programs around 2009. In a composition class, I met an architect who became my mentor. At that time, information was a bit more limited. I remember Grasshopper had a blog where people worldwide shared code definitions. We would download, study, and start creating things with these tools and resources shared by the community.

It was fascinating, especially in central Mexico, in Mexico City, where a group of young people my age mastered these tools and formed communities. I was living in Veracruz then, so it was a bit more challenging to have physical interactions and share ideas. It was very enriching to learn about these tools and explore beyond what was immediately available.

Through this process, I learned that architecture doesn't necessarily have to be confined to habitable spaces. There are other facets like technology, art, and even construction itself.

Kaloh: How do you define your art, and what is your main goal or inspiration?

JRG: Each artist has their own method and process. I see my work as a giant sketchbook, where I explore different ideas and concepts. I might follow a line of work for a week or a month, but there are also times when I explore different ideas every day. 

I see my work as a giant sketchbook, where I explore different ideas and concepts. I might follow a line of work for a week or a month, but there are also times when I explore different ideas every day. 

This sketchbook approach allows me to work and develop concepts more deeply. I see it as a game, where I don't necessarily have a fixed idea in mind or follow a specific concept, but rather have the freedom to create and continue working on whatever comes up. For instance, with my current practice of printing anatomical parts, this process emerged naturally as I enjoyed and explored these ideas. I dedicate significant time to this practice, in addition to the time spent creating and brainstorming with the computer.

Kaloh: Talking about anatomy and shapes, I’m a big fan of "En Mi Cuerpo" and "Forma y Orden". How did you come up with the idea of exploring anatomy with coding techniques?

JRG: My process has been very natural. Initially, I explored compositions in two dimensions, but then I started working with bodies and three-dimensional elements. This allowed me to combine the digital with the physical. 

I really enjoy this process and am always looking for ways to translate my digital ideas into something more tangible.

Kaloh: You teach design and programming. How do you balance that with your art, and what are your views on using artificial intelligence in both practices?

JRG: I maintain a balance through a routine that includes both my artistic practice and teaching. In my classes, I teach the basics of programming and 3D design, and I encourage using AI as a tool to enhance our ideas. Although I’m not an AI expert, I use it to solve problems and improve my work.

I recall hearing about professors banning iPads, which made me think that instead of prohibiting technology, we should learn to use it effectively. AI, like coding, should be used to augment our creative processes. For instance, if I encounter an error in my code, I might use ChatGPT to help resolve it, but I do so with a clear understanding of what I’m asking.

In my classes, I encourage students to embrace errors and use AI to find solutions. This demystifies programming and shows that behind every digital creation, there is work and understanding. AI can generate images or text, but it’s crucial to understand the data behind it. Using AI as a tool can greatly enhance our creative and educational processes.

Kaloh: Speaking of new technologies, how did you enter the world of NFTs and blockchain?

JRG: It was an interesting process. Friends mentioned NFTs to me, but I didn't pay much attention at first. Then, a friend invited me to Foundation, and I started receiving a lot of support from the community. I realized that my digital work had value and could be appreciated through this technology.

I remember a friend, Aaron Penne, suggested I get on Twitter. Suddenly, I had 50 to 100 followers in no time, which was amazing. It was a beautiful experience because it allowed me to connect with people and artists I admired, and this connection led to meaningful conversations and relationships, like ours from meeting in Mexico City.

Through this, I started to understand the value of my digital work in the NFT space. When I sold my first piece, it felt strange at first, selling a digital file that seemed intangible. But then I realized that my entire body of work is digital, and the blockchain gives it a tangible value through its process and characteristics.

Kaloh: Your first long-form project was "Caminos" with Bright Moments. How was that experience?

JRG: "Caminos" was a significant learning process. Before "Caminos," I was working on a project called "Encuentros," which is well-documented but not completed in terms of code. I submitted this project to Art Blocks, and I remember having a video call with Sofia Garcia to discuss it. Although I thought it was finished, I realized there were technical aspects I still needed to cover, such as creating a deterministic algorithm, managing dimensions, and ensuring it ran smoothly on a web page without being too heavy. I had completed the artistic part of the project but found myself needing to comprehend the technical side better.

I didn't get discouraged, but sometimes, after finishing a project, I lose interest because I'm eager to move on to new things. I had completed the composition part and liked it, but didn't want to go back and resolve the technical details at that moment. This left me feeling a bit sad, as I felt incapable of completing such a project.

Then came "Caminos" with Bright Moments. I approached it with a bit of reverse engineering. Before diving into the conceptual work, I resolved the technical aspects—dimensions, the hash, and ensuring it ran efficiently. Once I had these technical elements sorted out, I started working on the composition and what I wanted to express through the project. Initially, it was going to be a project of a hundred pieces, which felt manageable. It later expanded to a thousand pieces, leading to many iterations and revisits to the project.

This was a beautiful experience, full of learning about these new tools and technologies. It was also the first time I could meet artists I had only admired online. Connecting with them in person made me realize that they are just like me, with the same problems and concerns, which aren't always visible on social media.

Kaloh: Now that you are represented by ARTXCODE, what does this mean for you?

JRG: I feel very fortunate that my artistic practice is now my job. Having a team that supports me in aspects like documentation and marketing is invaluable. This allows me to focus on creating and experimenting. I believe that adding the skills of others always enriches the work.

Until now, I still see my art as a hobby, but being able to bring it to a project level and exhibit it is incredible. However, it also brings other challenges. For instance, in architecture, you enjoy the design process, but once you move into construction, it involves more than just design. You need to be good with numbers for budgeting and managing a team to build the project.

For a project to grow and continue, it requires people with various skills. I may excel in creating, experimenting, and working on composition and design, but documenting a project or writing about it can be complex and time-consuming. Launching a project and handling marketing and publicity are essential aspects, but you don't have to do everything alone.

Kaloh: Finally, tell us about your new studio and the work environment you share with other creatives.

JRG: My studio is in the historic center of the city where I live. It’s a space I share with my girlfriend, who is also an artist, and other creatives. Having a dedicated space allows me to explore new techniques and materials. 

Having this new studio space allows me to keep exploring these new interests. The freedom to work with different materials and techniques, combined with the support of a great team, enables me to push the boundaries of my practice even further. It’s a dynamic and inspiring environment that continually fosters creativity and growth.

Kaloh: It’s been a pleasure talking with you, Juan. Best of luck in your future projects.

JRG: Thank you. It’s been very enriching to share my experience. A big hug, and let’s stay in touch!

Until next time,

- Kaloh

Did you enjoy this issue? Share it with your friends & family to spread the word about onchain art & culture

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Support my newsletter & podcast, get access to token-gated articles and airdrops by collecting my NFT Subscription.

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I'm excited to share an exclusive interview with generative artist Juan Rodríguez García (JRG), in collaboration with ARTXCODE, to celebrate his recent signing with the renowned art house.

I first met Juan in Mexico City at the 2022 Bright Moments event, where he unveiled his debut generative long-form series, ‘Caminos’. Since then, I've watched his remarkable evolution as an artist. In this conversation, Juan reflects on his early beginnings in art, the development of his creative practice, and the significance of being represented by ARTXCODE for his future.

Note: The interview was originally conducted in Spanish and has been translated for this publication.

Kaloh: Tell us a bit about your beginnings in the art world, particularly in digital art. How did you start in this field?

JRG: As I’ve mentioned on other occasions, my process was quite natural. About 11 or 12 years ago, I finished my architecture degree. I was always interested in composition and design. After graduating, I started working at some architecture firms, focusing on design but also on more constructive aspects, like drafting plans.

Parallel to this work, I developed a fondness for creating things on the computer. I used software to render my designs and shared them on my social media.

Eventually, I found more tools and technologies. As I worked with these, I encountered the software Grasshopper, a plugin for Rhino. This allowed me to develop compositions through code, an algorithm. I gradually moved on to P5, an open-source language that didn't require a license, wasn't heavy on resources, and allowed me to focus on composition rather than construction. This process led me to become more interested in composition. From the first moment I used Grasshopper, I loved being able to explore architectural concepts that I had learned and practiced. These concepts, like rhythm, repetition, and color, have evolved in my daily practice.

Kaloh: In what year did you get that plugin and start working with it?

JRG: I finished my degree in 2014, and I think I started exploring these programs around 2009. In a composition class, I met an architect who became my mentor. At that time, information was a bit more limited. I remember Grasshopper had a blog where people worldwide shared code definitions. We would download, study, and start creating things with these tools and resources shared by the community.

It was fascinating, especially in central Mexico, in Mexico City, where a group of young people my age mastered these tools and formed communities. I was living in Veracruz then, so it was a bit more challenging to have physical interactions and share ideas. It was very enriching to learn about these tools and explore beyond what was immediately available.

Through this process, I learned that architecture doesn't necessarily have to be confined to habitable spaces. There are other facets like technology, art, and even construction itself.

Kaloh: How do you define your art, and what is your main goal or inspiration?

JRG: Each artist has their own method and process. I see my work as a giant sketchbook, where I explore different ideas and concepts. I might follow a line of work for a week or a month, but there are also times when I explore different ideas every day. 

I see my work as a giant sketchbook, where I explore different ideas and concepts. I might follow a line of work for a week or a month, but there are also times when I explore different ideas every day. 

This sketchbook approach allows me to work and develop concepts more deeply. I see it as a game, where I don't necessarily have a fixed idea in mind or follow a specific concept, but rather have the freedom to create and continue working on whatever comes up. For instance, with my current practice of printing anatomical parts, this process emerged naturally as I enjoyed and explored these ideas. I dedicate significant time to this practice, in addition to the time spent creating and brainstorming with the computer.

Kaloh: Talking about anatomy and shapes, I’m a big fan of "En Mi Cuerpo" and "Forma y Orden". How did you come up with the idea of exploring anatomy with coding techniques?

JRG: My process has been very natural. Initially, I explored compositions in two dimensions, but then I started working with bodies and three-dimensional elements. This allowed me to combine the digital with the physical. 

I really enjoy this process and am always looking for ways to translate my digital ideas into something more tangible.

Kaloh: You teach design and programming. How do you balance that with your art, and what are your views on using artificial intelligence in both practices?

JRG: I maintain a balance through a routine that includes both my artistic practice and teaching. In my classes, I teach the basics of programming and 3D design, and I encourage using AI as a tool to enhance our ideas. Although I’m not an AI expert, I use it to solve problems and improve my work.

I recall hearing about professors banning iPads, which made me think that instead of prohibiting technology, we should learn to use it effectively. AI, like coding, should be used to augment our creative processes. For instance, if I encounter an error in my code, I might use ChatGPT to help resolve it, but I do so with a clear understanding of what I’m asking.

In my classes, I encourage students to embrace errors and use AI to find solutions. This demystifies programming and shows that behind every digital creation, there is work and understanding. AI can generate images or text, but it’s crucial to understand the data behind it. Using AI as a tool can greatly enhance our creative and educational processes.

Kaloh: Speaking of new technologies, how did you enter the world of NFTs and blockchain?

JRG: It was an interesting process. Friends mentioned NFTs to me, but I didn't pay much attention at first. Then, a friend invited me to Foundation, and I started receiving a lot of support from the community. I realized that my digital work had value and could be appreciated through this technology.

I remember a friend, Aaron Penne, suggested I get on Twitter. Suddenly, I had 50 to 100 followers in no time, which was amazing. It was a beautiful experience because it allowed me to connect with people and artists I admired, and this connection led to meaningful conversations and relationships, like ours from meeting in Mexico City.

Through this, I started to understand the value of my digital work in the NFT space. When I sold my first piece, it felt strange at first, selling a digital file that seemed intangible. But then I realized that my entire body of work is digital, and the blockchain gives it a tangible value through its process and characteristics.

Kaloh: Your first long-form project was "Caminos" with Bright Moments. How was that experience?

JRG: "Caminos" was a significant learning process. Before "Caminos," I was working on a project called "Encuentros," which is well-documented but not completed in terms of code. I submitted this project to Art Blocks, and I remember having a video call with Sofia Garcia to discuss it. Although I thought it was finished, I realized there were technical aspects I still needed to cover, such as creating a deterministic algorithm, managing dimensions, and ensuring it ran smoothly on a web page without being too heavy. I had completed the artistic part of the project but found myself needing to comprehend the technical side better.

I didn't get discouraged, but sometimes, after finishing a project, I lose interest because I'm eager to move on to new things. I had completed the composition part and liked it, but didn't want to go back and resolve the technical details at that moment. This left me feeling a bit sad, as I felt incapable of completing such a project.

Then came "Caminos" with Bright Moments. I approached it with a bit of reverse engineering. Before diving into the conceptual work, I resolved the technical aspects—dimensions, the hash, and ensuring it ran efficiently. Once I had these technical elements sorted out, I started working on the composition and what I wanted to express through the project. Initially, it was going to be a project of a hundred pieces, which felt manageable. It later expanded to a thousand pieces, leading to many iterations and revisits to the project.

This was a beautiful experience, full of learning about these new tools and technologies. It was also the first time I could meet artists I had only admired online. Connecting with them in person made me realize that they are just like me, with the same problems and concerns, which aren't always visible on social media.

Kaloh: Now that you are represented by ARTXCODE, what does this mean for you?

JRG: I feel very fortunate that my artistic practice is now my job. Having a team that supports me in aspects like documentation and marketing is invaluable. This allows me to focus on creating and experimenting. I believe that adding the skills of others always enriches the work.

Until now, I still see my art as a hobby, but being able to bring it to a project level and exhibit it is incredible. However, it also brings other challenges. For instance, in architecture, you enjoy the design process, but once you move into construction, it involves more than just design. You need to be good with numbers for budgeting and managing a team to build the project.

For a project to grow and continue, it requires people with various skills. I may excel in creating, experimenting, and working on composition and design, but documenting a project or writing about it can be complex and time-consuming. Launching a project and handling marketing and publicity are essential aspects, but you don't have to do everything alone.

Kaloh: Finally, tell us about your new studio and the work environment you share with other creatives.

JRG: My studio is in the historic center of the city where I live. It’s a space I share with my girlfriend, who is also an artist, and other creatives. Having a dedicated space allows me to explore new techniques and materials. 

Having this new studio space allows me to keep exploring these new interests. The freedom to work with different materials and techniques, combined with the support of a great team, enables me to push the boundaries of my practice even further. It’s a dynamic and inspiring environment that continually fosters creativity and growth.

Kaloh: It’s been a pleasure talking with you, Juan. Best of luck in your future projects.

JRG: Thank you. It’s been very enriching to share my experience. A big hug, and let’s stay in touch!

Until next time,

- Kaloh

Did you enjoy this issue? Share it with your friends & family to spread the word about onchain art & culture

This hidden gems issue is a free collectible (almost free; you pay protocol and gas fees).

📣 Interested in sharing your product, brand or content to 17,000 onchain enthusiasts? Reach out at hi@kaloh.xyz

Support my newsletter & podcast, get access to token-gated articles and airdrops by collecting my NFT Subscription.

Did someone forward this to you?​ Click here to join ~17,000 readers​