Anemale is more than an artistic project—it’s a visionary force where two exceptional minds merge to push the boundaries of art, storytelling, and collaboration. Jimmy, a self-taught polymath whose instinctive creativity breathes life into every piece, and Camille, a concept-driven thinker with a gift for weaving meaning into every detail, have forged an artistic partnership that redefines collaboration itself. Together, they don’t just create art—they build entire worlds, each piece a portal to their shared imagination.

From the profound symbolism of Symbolic Citees, where urban landscapes become metaphors for the human experience, to the dreamlike surrealism of Anihimale Dreams, and the groundbreaking participatory vision of HumanIA Fluidity, Anemale embodies the frontier of artistic innovation. Each creation is a testament to their ability to transform ideas into masterpieces that feel alive—works that linger in your mind long after encountering them.

Personally, I’ve been awestruck by the layers of meaning in their work and the way they channel emotion and vision into deeply personal and universally resonant forms. Their synergy is unlike anything I’ve ever seen, and their art is not just a product of talent but of a rare connection and shared philosophy.

In this exclusive interview, Jimmy and Camille take us on a journey into the heart of Anemale’s creative universe. They share how their dynamic interplay of visions, forged through years of trust and experimentation, continues to inspire not only themselves but the global art community. Prepare to be transported by the story of two dreamers whose unrelenting pursuit of beauty, emotion, and meaning is reshaping what art can be.

A: Anemale brings together two unique creative voices. Could you describe how your individual artistic journeys led to the creation of Anemale? How did your meeting, with its mix of shared tastes and unique perspectives, transform both your creative outlooks?

J: Generally, we discuss a concept and together define the angles, vision, and rules of the project. Camille provides materials based on what we want to create, and on my end, I gradually transform this material. At each stage, Camille contributes with suggestions or critical feedback to refine the work and remain faithful to our initial idea.

Sometimes, the process starts spontaneously on my end, influenced by inspiration from the moment or a recent discussion with Camille. In such cases, we then build a narrative to structure the concept, and if suitable, we launch a coherent series.

Camille has always had a significant influence on my work, particularly musically. He introduced me to unique artists who broadened my horizons and nurtured my passion for exploring authentic universes. This musical sensibility has also enriched my visual world.

C: Jimmy works like a creative machine, always ready to produce, constantly inspired by a subject or theme. On my side, I come across many projects on Farcaster, as well as in my personal and professional life. I’ve always loved sharing everything I see and feel with him. Jimmy, with his unique talent, transforms these inspirations and elevates them while staying true to the essence of the Anemale artistic project.

That’s the strength of Anemale: our rich and varied personal experiences merge and intertwine to fuel and shape this adventure. Anemale never sleeps. Even our dreams contribute to writing its story. Every day, we exchange ideas, and when not through words, it’s through thoughts. Anemale is always there in the background, evolving and maturing through our reflections.

We instinctively anticipate each other’s desires or ideas so that when we combine our visions, everything seems aligned. All that’s left is to refine, polish, and bring these creations to life because Anemale is more than a project; it’s a part of us.

A: Jimmy, you’ve mentioned growing up in a family of artists. How did this environment, rich in creativity, influence your self-taught exploration across multiple disciplines?

J: My father was a self-taught multidisciplinary artist, passionate about music, visual and digital arts, and DIY. My mother, on the other hand, has a strong personality, sensitivity, wisdom, strength, and discipline that deeply inspire me. Together, they cultivated a stimulating environment where the transmission of knowledge and creative tools was central.

My brothers and I grew up in this universe where curiosity and self-improvement were encouraged through regular exercises and constant access to means of expression. Personally, I’ve never been able to limit myself to one discipline. I work in phases, and this upbringing instilled in me a genuine creative dependency that has become a driving force.

A: Camille, what inspired you to explore crypto art as a platform? What potential did you see in it for amplifying Jimmy’s artistic voice and giving his works the audience they deserve?

C: Like many, I saw BTC making headlines in 2021, but what intrigued me was using this medium to create something new for Jimmy. I told him his art could be showcased and offered to help him do so. But Jimmy proposed something even stronger—he didn’t want to venture into it alone; he wanted to bring me along on this journey. It was finally an opportunity to create something together because, yes, we’ve known each other for several years.

For me, Jimmy needed a space to express himself. I had to showcase his creative abilities to the world. I couldn’t let his works remain stored on a hard drive, untold and unshared with a wider audience. And we surpassed all our expectations. In creating Anemale, it wasn’t just me or Jimmy behind it—it was Anemale, an incredible dynamic between two friends sharing a common project and aiming to go further.

For contests, I handled that part and left Jimmy free to create while explaining certain details. Sometimes there are themes or contests, so we brainstorm together about what we can propose. It’s thanks to this powerful dynamic that we’ve exhibited our works in Paris, Amsterdam, NYC (twice, including Times Square), and Belgium. An artist can quickly feel discouraged by the administrative processes for some contests or lose time on them, leaving less time for quality creation. I keep watch, filter, and bring interesting projects to Jimmy. We discuss them, and if we decide to go further, he preserves his time to fully delve into his artistic process.

A: The hand and brain symbolize the synergy of your collaboration. How do you balance Jimmy’s creative instincts with Camille’s focus on practical execution to achieve your shared vision for Anemale?

J: As mentioned earlier, Anemale’s synergy is built on constant dialogue that combines our respective strengths and guides each project in a shared direction. So far, this method has always worked: no piece ever leaves either of us feeling dissatisfied or frustrated. Every creation is the harmonious culmination of both our voices.

C: Yes, we’ve been communicating daily for years, which makes our exchanges incredibly fluid. We’ve developed such a deep mutual understanding that we can anticipate what will or won’t resonate with each other. Our thought patterns are perfectly in tune, already moving to the rhythm of Anemale in everything we do.

A: In the Symbolic Citees collection, the cities represent more than just physical places—they embody emotions, metaphors, or even intangible concepts. What led you to explore urban landscapes as a medium for expressing these deeper ideas?

J: Camille often spoke to me about concepts related to attributes and public metadata, which could provide clues about the rarity of each layer in a piece. One day, while practicing 3D techniques by creating a virtual city, I realized this system could apply to a collection built around layers—a different approach from the usual PFP series.

As I delved deeper, I imagined each city being personified, imbued with a soul, to avoid creating something purely aesthetic. Camille enriched this idea by emphasizing the importance of layers, which led me to develop public symbolism for each one. This would allow collectors to identify with the piece or interpret it as a symbolic, almost spiritual draw. This mix of aesthetic reflection and personal connection gave rise to a unique series. Since the scope of possibilities was so vast, we took the opportunity to incorporate references dear to us, including some memes and addictive elements.

C: I think this collection is one of the craziest ever created in terms of both quality and quantity of creations, but we haven’t said our last word on this collection yet.

A: Fluid Matter From Mind explores the dynamic interplay between thought and emotion. What inspired this concept, and how did you approach visualizing something as intangible as the fluidity of the mind?

J: At that time, the market had evolved once again, and Camille mentioned the importance of showcasing the capabilities of artificial intelligence. Not wanting to let a technique evolve on its own, I had the idea to collaborate directly with AI while keeping the human hand and mind at the core of the process. Starting with homemade assemblies (montages, drawings, 3D, etc.), we built, selected, and guided every step to achieve a result that was unique and faithful to the mental (not just visual) concept, which revolved around fluidity, movement, and the transformation of matter.

With Camille, we defined the technical and creative boundaries to explore. The initial results were convincing, paving the way for a series where artificial intelligence becomes a tool serving human expression.

C: What I wanted was for Jimmy to approach AI not as a means of assistance or for generating works but as a new tool to explore. I knew this tool would appeal to him because it is constantly evolving, and he loves to experiment.

A: Your upcoming HumanIA Fluidity co-creation project sounds amazing—it’s such a cool idea to have people’s personal responses shape the artwork. How do you see this collaboration between human input, your creativity, and AI coming together in the final pieces? And what makes this approach so special compared to more traditional methods?

J: This series is a continuation of Anemale’s early explorations. This time, inspired by Camille’s reflections on social interactions and the global market, we had the intuition to incorporate the subjectivity and emotions of collectors into the process. Fluid, in a way, evolves like a Pokémon, gaining maturity and depth as it grows.

C: I’ve always shared with Jimmy what’s happening on Warpcast and elsewhere, explaining how my interactions with collectors here feel truly different. The exchanges are more sincere, profound, and supportive. Sure, sometimes the comments are brief, but I’ve had incredible encounters. You can really feel the strength and passion of the artistic community.

Building on this idea, Jimmy wanted to create a collection that is both personalized and participatory. Each person can contribute and reflect their identity through an Anemale piece. I find this idea absolutely brilliant. Anemale isn’t limited to being a project between two friends—it aspires to include anyone who wishes to connect with it and become part of this journey.

A: Anihimale Dreams has an almost dream-journal quality, capturing fragments of surreal storytelling. Were there any specific dreams, myths, or personal experiences that directly inspired pieces in the collection?

J: You’ve captured the essence of our Anihimale Dreams series perfectly. We also have other series that explore themes of dreams and the unconscious, but with different approaches. This choice to work around the unconscious allows us to offer it a creative space, leaving room for interpretation and spontaneity, far from rigid storytelling based on symbols. Here, the focus is on the fluidity of images, dreamlike incoherence, and a freer aesthetic, contrasting with series more grounded in symbolism.

You could say this series lies between our “Fluid” and “Symbolic” collections. Each image is a nearly frozen vision, drawn directly from our unconscious or our dreams. This process often emerges from exchanges—sometimes very spontaneous ones, even including inspirations brought by Camille’s children—or moments when I place myself in a meditative state, letting images naturally emerge. My role then is to give these visions form by building environments and creatures, explored from various angles, as if capturing a fragment of the unconscious and placing it like an object in a unique universe while staying true to its essence.

The myths you mentioned subtly play a role in this process. They shape our personalities, often without us being fully aware, unless we choose to delve deeper into these images through a psychoanalytic or archetypal dialogue. James Hillman’s work, for instance, offers some fascinating insights into exploring these unconscious connections between myth and artistic creation.

A: Experimentation seems to be at the heart of your creative process. Can you share a moment when an unexpected discovery during experimentation led to a breakthrough or a new direction?

J: I’d say it’s often mistakes or encountered limitations that allow a piece to take decisive turns. These moments of friction or constraint become opportunities to explore unexpected directions.

The rest of the time, experimentation progresses gradually, almost tentatively, especially when exploring unknown techniques. It’s always done while respecting and reinterpreting the skills we’ve already acquired. For example, I enjoy using familiar techniques from a new perspective or pushing their limits to the extreme, which opens up new possibilities. Sometimes, I take a finished result as raw material and start over from scratch, running it through a series of effects and techniques to reach something unexpected before aligning it with a predefined conceptual reflection.

To illustrate this, I could compare the process to a child discovering a video game. With their controller, they gradually learn the function of each button, then experiment by combining actions. Each combination produces a unique result, influenced by evolving parameters as they progress. This exploration, full of uncertainties and discoveries, is what fuels creation.

A: Outside of art, what is your inspiration? Are there movies, music, places, or personal experiences that have left a lasting impression on your creative journey?

J: I am deeply inspired by authenticity, surprise, depth, and sincerity. These qualities, whether embodied by an artist or a piece of work, inevitably leave a mark on my creative path. But this source of inspiration isn’t limited to art—a meaningful conversation, a walk, a discovery, or a real-life event can influence me just as much. Camille, of course, plays a key role in this process, as we’ve developed a valuable habit of creatively feeding off one another.

If I had to name a few key figures who inspire me: Salvador Dalí, Björk, Jesse Kanda, Yves Klein, Hieronymus Bosch, James Blake, Kate Bush, Hayao Miyazaki and Studio Ghibli, and The Legend of Zelda. However, this list is far from exhaustive and often depends on my mood or the moment. My inspiration remains fluid, always open to new influences.

C: For me, everything started with music. I spent countless nights listening, discovering, and sharing my favorites on a blog. I regularly attended independent band concerts, moments that allowed me to feel intense emotions—whether in the midst of an electrified crowd or alone at home with headphones. These musical nights were truly emotional journeys for me.

I loved following artists in their early days, and on MySpace, I often exchanged messages with other enthusiasts—including a certain Jimmy. He introduced me to his works and artistic influences. Through him, I opened my senses to art, introspection, and symbolism. He awakened in me a curiosity and sensitivity I didn’t know I had. I began to feel emotions with visual art similar to what I experienced with music.

My inspirations include artists such as Caillebotte, Seurat, Matisse, Warhol, Basquiat, Soulages, Klee, and of course Yves Klein, along with those Jimmy introduced me to. I love visiting exhibitions, museums, and observing the thousand details that surround us. A statue, an artisanal market, the history of an old building, street art, the nature and landscapes that surround us, art is everywhere, but it requires interest and curiosity to truly see it.

If I were to add another major influence, it would be psychiatry. It has given meaning to my professional life and taught me a lot about myself and our relationships with others. Among my references, Henri Laborit holds a special place. His work celebrates creativity, imagination, and freedom of thought as essential refuges to escape alienation and the violence of oppressive social systems. This resonates deeply with both my personal and professional practices.

A: The synergy between you two is so central to Anemale’s success. What’s the most rewarding part of working together, both as creative partners and as individuals?

J: The strength of Anemale lies in the unique dynamic of our duo. Every piece evolves while staying true to our constant dialogue, driven by a quest for authenticity, rigor, and listening, as well as a genuine connection with our community. This partnership is both deeply nourishing on a creative and human level. We are expanding the soul of the project even further with our upcoming participatory collection.

Anemale embodies a creative duality while being rooted in the intimacy of a 15-year friendship—with its highs and lows, emotions, and moments of complicity. All of this is reflected in sincere and aesthetic works. By blending modernity and tradition, we create a unique mix of poetry and emotion. And if I may indulge in a bit of pride, I’d say we sometimes flirt with the boundaries of the avant-garde.

C: Haha, yes, reading Jimmy’s answer, it’s true that the journey we’ve taken is quite incredible. We’ve never stopped creating and imagining since the beginning. In reality, Anemale has lived within us for years, permeating all of our relationships and nourishing both our art and our interactions on Warpcast.

To understand what Jimmy expresses, you need to know that he lives in a small isolated house nestled in the mountains on the border between Italy and France. He’s an artist who chose to retreat from society for personal reasons. This setting reflects the traditional and introspective side of Anemale. As for me, I live in a large city in France. I love blockchain, I’m curious about experimenting, exploring, and testing new ideas. Although I don’t master everything, I love technology and its possibilities.

We have two completely different lives and roles, but it’s precisely this duality that gives life to Anemale. Jimmy and I are complementary. One cannot exist without the other in this project, as our visions and contributions enrich each other. This symbiosis is what makes Anemale a unique project, at the crossroads of two worlds.

A: Is there a particular question that you were never asked but wish you had the opportunity to answer?

J: The question we’ve never been asked would be: “Does Anemale have an end?”

My answer would be that the end of Anemale is limited only by the constraints of earthly reality. We’ve gone through so many states and turns that I’m convinced Anemale is, above all, an intimate dialogue between two visceral art enthusiasts unable to restrain their need for expression. This dialogue has always adapted to any constraint—it will always find a way to exist, even in the smallest space of expression. Anemale is an essence, an energy that will always find a way to live on.

C: That’s an interesting question, Jimmy, because, like many artists, we’ve left our mark on the crypto-art scene. But what sets us apart is this thirst to keep creating and evolving. Anemale isn’t just an art project—it’s the thread connecting our friendships, our works, and our relationships with others.

I don’t exist elsewhere, under another name or identity. I don’t have a personal profile, and I don’t feel the need for one, because all I want is for Anemale to continue its path. For me, Anemale is endless—an extension of our lives and of mine. It’s through this project that I define myself, and it’s what gives it all its strength and uniqueness.

we are anemale

You can find more about Anemale following these links:

Through his lens, Brandon uncovers the hidden beauty of both natural and urban landscapes, finding fresh perspectives in even the most photographed locations. From the rugged grandeur of Yosemite to the urban sprawl of Southern California, his work celebrates light, composition, and storytelling in a way that feels deeply personal yet universally moving. His patience, preparation, and creative intuition allow him to document rare phenomena, turning fleeting events into timeless works of art.

As a pioneer in web3 photography, Brandon is not only redefining how we see the world but also how art and community intersect in the digital age. His journey is a testament to the power of passion, perseverance, and an unwavering commitment to his craft.

In this interview, Brandon shares insights into his creative process, the challenges of chasing rare moments, and the personal meaning behind his awe-inspiring work.

A: You’ve described yourself as a self-taught photographer passionate about landscapes and cityscapes. What inspired you to begin your photography journey and what drew you to these subjects as your creative focus?

B: My passion for photography began in 2009 as a way to capture memorable pictures of my honeymoon trip to Australia and New Zealand. Seeing the beauty of these places made me want to capture the same beauty around my home in Southern California. With diverse landscapes ranging from the ocean to the mountains and everything in between, there were no shortages of subjects to photograph. It became a passion of mine to show off my home in a unique way under the best light and conditions possible.

A: Over 15 years, you’ve perfected your craft as a self-taught artist. What were some of the most significant challenges you faced early on, and how did they shape the way you approach photography today?

B: With the adoption of digital cameras and smart phones, the landscape genre quickly became saturated over the past decade. Getting my name out there was (and still is) one of the hardest things to do. Photographing common areas around Southern California meant that there were already plenty of similar photographs by well established artists and I knew that setting myself apart was going to play a crucial role in my success in the industry. This mindset of bringing a unique angle or condition to a scene that may have already been shot thousands of times was the differentiator that shaped the way I approach my photography today.

A: Capturing rare moments, like cloud inversions or a Falcon9 launch, demands precise timing and preparation. How do you plan for these fleeting opportunities?

B: Preparation is only a piece of the puzzle but a critical one. Forecasting apps and studying weather patterns have helped my success rate tremendously with cloud inversion photographs; but the reality is that there are still more failed attempts as compared to successful ones. The web has a wealth of information, even for things such as planning the trajectory for a rocket launch which was helpful for planning the Falcon9 launch, one of my most successful photographs to date. No matter how well I plan, Mother Nature has the final say. The fog can end up being a few thousand feet higher and instead of being above it, I can be engulfed in it. Or the weather can be unfavorable for a rocket launch to be scrubbed. These factors usually lead me to have to re-visit the same exact location multiple times in order to capture that one truly rare moment.

A: In a city as vast and iconic as Los Angeles, finding fresh perspectives can be a challenge. Yet your Los Angeles collection on Foundation reveals unique vantage points. How do you scout locations and ensure distinctive takes in such a frequently photographed city? 

B: Google maps is my best friend and has allowed me to scout many unique angles of the city I call home. Once I have an idea of the composition, I usually scout it before hand to ensure it all checks out. 3D satellite view allows me to align various points of interest with the skyline, ensuring a strong composition with many layers. Many of my photographs are taken from a far away distance, utilizing a telephoto lens to compress the elements of a scene for greater impact. You can see this in many of my photographs where I compress the skyline and the local mountains, or when I align a moonrise behind Los Angeles points of interest. These compressed telephotographs have caused a lot of interest and various discussions online as many people are quick to call them out as fake but at the same time they have allowed me to educate viewers and became one of the signature factors in my cityscape photographs.

A: Photographing rare phenomena often comes with unique challenges. Can you share a story about a particularly difficult shoot and the insights you gained from it?

B: ‘Purple and Gold’ has a special meaning to me as a Lakers and Kobe Bryant fan. The city announced that they were going to pay tribute to a legend by lighting up various city landmarks in purple and gold; one of them being the LAX pylons. A unique challenge of obtaining this specific photo is that this angle is only attainable from a specific hotel with only a few “corner view” rooms facing this direction. A drone is out of the question as it is in a heavily restricted airspace near LAX. After a ton of research on finding the exact hotel and room, the difficult decision was having to spend money to book the room for the night just to be able to secure the location for the shot, not knowing if the city would cancel or postpone the memorial. Luckily I was able to capture the purple and gold pylons and on that night Mother Nature treated me to one of the most spectacular sunsets I’ve had a chance to witness. I was able to create two NFT’s in my Los Angeles collection (pictured below) and a timelapse of the event in my SuperRare collection (linked below). Sometimes getting the shot requires a bit of extra insights and resources; but given the meaning of this photo to me personally it was all worth it.

Mamba Forever

A special release minted today 8/24 on Kobe Bryant Day to pay tribute to one of the greatest of all time. This time-lapse was taken on January 31, 2020, less than a week after the NBA star's death. The city of Los Angeles paid homage by lighting up several landmarks in purple and gold during the first L.A.

https://superrare.com

A: Astrophotography is a key focus in your Shoot for the Stars collection. What draws you to the mysteries of the night sky, and what are the biggest technical or creative hurdles you face when capturing these celestial scenes?

B: Astrophotography has become a huge passion of mine over the last few years. I enjoy the mystery of the unknown and the fact that the universe is so vast. I’m always amazed as I point my camera towards the dark sky and am able to expose a photograph of millions of stars. The technical difficulty that comes along with capturing a successful shot of the night sky was a huge challenge when I first dove into astrophotography. From being out in the middle of the night braving the elements, to trying to focus and compose a photograph in the pitch black, the technical ability to create a properly exposed photograph is much more difficult than a standard daytime photo and requires significantly more post processing techniques to master. Composition remains a key factor in astrophotography so aligning the Milky Way above a beautiful landscape or strategically placing star trails behind an interesting foreground element helps turn a good photo into a great photo.

A: With your work requiring so much patience and dedication, how do you stay motivated during long shoots or when conditions don’t go as planned?

B: For local shots, I am fortunate enough to be close enough to be able to drive out and back in a short amount of time. However, given that I rely on unique conditions, I find myself having to re-visit locations multiple times before capturing an envisioned photo. The motivation of documenting that one unique moment keeps me dedicated to come back to a certain spot until I am successful. When I do take trips, I already set my expectations that it will be a long outing and my mindset going into a shoot prepares me when I am out in the field. I will usually pack food, water, warm clothes and something to keep me occupied such as music when I am out in the wilderness in the middle of the night when I have little to no cell service. Turning my vision into a reality and capturing that specific moment in time and turning it into a photo that I can look back on forever gives me the fuel to withstand any hardships of capturing it.

A: Your photographs often evoke a deep sense of place and time. Has photography influenced the way you experience and appreciate the world around you?

B: I’ve never thought of myself as a creative person but photography has allowed me to express my creativity through my camera. Photography has helped me appreciate the world we live in, from the beauty of Mother Nature to the architectural elements of a city. It goes hand in hand with my love for experiencing new places and motivates me to document my travels. I find myself looking at the world through more of a focused lens, studying both light and compositional elements and picking apart various components of any given scene.

A: As someone who spends so much time exploring natural and urban landscapes, do you have a favorite place that holds special meaning to you, either for its beauty or the memories tied to it?

B: Yosemite National Park will always hold a special place in my heart. I visited this park as a kid, and took many camping trips here with friends even prior to diving into photography. Climbing Half Dome will always remain a highlight of mine; from preparing for the 16 mile hike months in advance, to being able to stand on the top with a 360 degree view of the valley below. Now, as a photographer and as a parent I get to bring my kids to this special place to witness everything Yosemite has to offer and photograph the same granite icons in different seasons. We enjoy coming up here in the winter when the park is treated to snow and being able to see the entire park covered in white is truly magical. I am fortunate that this park is not too far away and I am able to get up here at least once a year. I even have a dedicated collection to Yosemite that captures the best of the national park in all seasons.

A: Photography often involves a lot of solo time in nature or urban settings. Do you find this solitude to be a source of creativity, or do you prefer sharing these experiences with others?

B: I am an introvert by nature so I enjoy spending time alone unplugged and surrounded by nature. It allows me to do what I love to do and provides the “me” time I need to balance my life between my day job, my family and my photography passion. I am thankful to have a wife and family who are understanding and flexible to allow me to chase my dreams. While it is nice to share my photographic experience with other likeminded individuals, being alone helps me stay focused on my goals and ultimately allows me to be more flexible as needed by changing conditions/circumstances.

A: Is there a dream destination or bucket-list location that you’ve always wanted to capture but haven’t had the chance to yet?

B: I’m fortunate to have been able to visit a few countries already including highlights in Australia, New Zealand and being able to see Machu Picchu in Peru. My wife and I are planning a trip to Japan and Korea in 2025 which we are excited for. I think a dream photo excursion for me would be a safari in Africa. While I don’t dabble in a lot of wildlife photography, being able to witness the raw beauty of the animals is always something that is on my bucket list.

A: Since joining Farcaster in early 2024, what changes have you noticed in your connection with collectors? What role do you believe decentralized platforms will play in the future of art communities? 

B: I took a leap into the crypto/NFT space late 2021 and got in at the tail end of the NFT craze which all quickly came crashing down as we moved into the beginning of the 2022 bear cycle. I moved all social activity from my main platform on IG to X where I had to start from scratch and build up my name/brand. I spent the next couple of years connecting with artists and collectors alike while learning as much as I could about web3 and while I can say I was fortunate to be able to have consistent sales over those years, I feel like there was a lot of noise on centralized platforms and we were also at the mercy of the heads that controlled the platforms.

Moving to Farcaster in February 2024 was a refreshing change of pace and with a smaller user base it allowed me to connect with peers on a deeper level. It also gave me a front row seat to all of the amazing things being built by users, free from centralized control. To date, I still believe many collectors remain on centralized platforms but the amount of artist collectors on Farcaster supporting each other continues to amaze me. For Farcaster to be the platform of choice for art communities, it would need to attract collectors and continue to cater to the needs of the artists to which I think Farcaster has done a great job over the past few months. Given we are still at the very early stages of SocialFi, the adoption will naturally come as it becomes more mainstream.

You can find more about Brandon following these links:

Her journey as a photographer is deeply rooted in passion and meticulous preparation. Influenced by the work of iconic photographers like Diane Arbus and Sebastião Salgado, Ozlem combines a commitment to storytelling with an instinct for connecting with her subjects. Whether living among communities to gain their trust or respecting sensitive cultural boundaries, her approach is defined by care, respect, and a genuine desire to share the beauty of different ways of life.

Ozlem’s work reminds us that photography is not just about capturing images—it’s a way of preserving history, fostering empathy, and connecting us all through the universal language of emotion and humanity.

A: Can you share the moment or experience that made you realize photography was more than a hobby and would become your lifelong passion?  

O: Yes, photography is a lifelong passion and excitement for me. The large family I have created and the beautiful memories I have accumulated are enough to keep my passion and excitement alive.

When I look at the archive and see the photos of my heroes, I go back to those days. I have a notebook that I always carry with me to take notes during my photography trips, where I write down the name of the person and relevant information so that I don't forget. It is not possible to keep everyone in your mind, but strangely enough, sometimes you don't even need this notebook because you remember some of your heroes who have left a deep impression on you.

I like to revisit the heroes I have photographed and give them one of the photos I have taken - it makes me and them very happy.

In fact, one of the things that affects me the most is the absence of some of the heroes I photographed. I've experienced this a lot in my DEQ project, it's about 9 years old and every year I go to that area to take photos, because it's a very precious and disappearing culture. And every year when I go, I find out that some of the women I photographed have passed away, I talk to their families and I remember those days again. That's when you realize that it's not just about photography, it's much more than that.

Lives, experiences, memories, shared moments... much more... That's why photography is not just a hobby for me, it's a very important part of my life. Because this part is made up of a very large treasure of mine, and treasures are always very valuable.

A: What inspired you to explore and document different cultures and lives through photography? What excites you most about discovering new cultures?

O: I really love watching documentaries, in fact, it would be fair to say that documentaries are the only thing I watch on television. Watching these documentaries has channeled me in very different directions. I also love the human element in my photography, feeling and conveying emotions, and even sometimes the story that the viewer themselves writes when looking at my photograph.

I always advocate that photography should convey and evoke something, and sometimes even teach. If I hadn't taken up photography, I would never have witnessed these different cultures, different ways of living, regardless of their religious language. Yes, there are many documentaries about the cultures you are curious about, but going there, living it, witnessing it, and sharing precious moments with them brings so much more joy and adds so much more to your life.

Every new culture I encounter, with its unique rituals, traditions, and ways of life, amazes and astounds me, and I feel so fortunate to have documented them through my photography. For example, the festivals celebrated three times a year by the Kalash people of Pakistan, the Yazidis who have to leave their villages and return each year to celebrate their holidays, or the Padaung women I've witnessed in Myanmar. Understanding these diverse lifestyles, documenting them through photography, and sharing them is an incredibly rewarding process for me.

Therefore, discovering and documenting different cultures through photography is an exhilarating and inspiring process for me. It changes your perspective. Exploring the richness and diversity of the world, understanding humanity's common denominators and differences, is extremely fulfilling.

A: Are there any photographers, artists, or storytellers who have profoundly influenced your style or approach to your craft?

O: Yes, absolutely.

As someone who loves taking portraits, I have been strongly influenced by the powerful and striking portraits of Diane Arbus. Her ability to reflect human conditions and differences has always sparked my desire to explore.

Sebastião Salgado's powerful black and white photographs have an incredible depth of emotion, conveying social issues and the human condition. His work "Workers" is truly captivating.

Dorothea Lange was an incredibly powerful documentary photographer, and her photograph "Migrant Mother" is one that has left a mark on me.

And Ara Güler is truly a legend for me. Through his photographs, I have seen the old Istanbul that I never experienced, and discovered that change through his work.

And there are many more. I love studying photography and trying to read the stories in the photographs I examine. I'm interested in what the photograph is trying to convey, the emotion it evokes and the feeling it tries to impart. This always helps me to focus more deeply on my own work and add more of myself to it.

A: You’ve described photography as a way of writing stories with a camera. Can you share a favorite story behind one of your photographs?  

O: I don't want to say it's my favorite story, but I think it's one of the stories that has influenced me the most. One of the first projects I worked on was on refugees. As you know, Syria is a neighboring country of Turkey, and during the Syrian war, many Syrian families had to leave behind their memories, their past, and even some of their family members, to come to Turkey to protect their children.  And in that region, an incredibly large refugee camp was set up. It was such a large camp that it had everything from schools to hospitals within it.

I wanted to take photographs there and applied for the necessary permissions. This process was really difficult for me. I was only granted a 3-day permit.

I spent 3 days living with the people in that refugee camp. Since I didn't know their language, I walked around with an interpreter. I ate meals with them, drank tea, played with the children, and had many conversations. I can't forget the unease, the traumas, the fears I saw in the eyes of those people, especially the children. And I can't forget a small child hiding behind a tent, clutching their only toy - a deflated ball.

What I experienced there was beyond just taking photographs - I just wanted to be part of their community. That's why I didn't take too many photographs, because I could see they were uneasy even at the slightest sound of my camera.

I don't know what happened to those children, how they continued with their lives. I'm very curious to know if they can still laugh, if they still have hope, if they have plans for the future. But when my photography session there ended, the only thing I said was that "Children should only cry for candy." What I experienced there has left very deep marks on my life.

A: When preparing for a project, such as capturing the Yazidi festival or documenting Kalas People in Pakistan, how do you plan your approach? How important is research and preparation to your creative process?  

O: Absolutely, it's very important.

Whether it's the Yazidis, the Kalash people, or others, if I don't have sufficient knowledge about them, I won't be able to effectively tell their story. I need to have information about their culture, beliefs, traditions, way of life, cuisine, superstitions, and many other aspects. For this, I need to do very thorough preparation - read extensively, watch many documentaries related to them.

Timing is crucial for an effective story, so if there are any special days, festival dates, or other important details, I need to be well-informed about those.

I always try to communicate with a local person from the places I plan to visit - this is an indispensable element for me. Being able to better understand that culture and communicate more effectively is perhaps one of the most important factors. Because sometimes, even with all the knowledge, I may not be allowed to take photographs at all in the places I visit. When that happens, no matter how much you know about the culture, you end up just having conversations and filling another page in your notebook. But if you go with someone from the local community of that region, then everything becomes much easier.

The research and preparation process is truly important, because as I always say,  I travel to take photo.

A: Travel photography often involves engaging with sensitive subjects, such as the Padaung women or the displaced Yazidi community. And cultural sensitivity is a key element of your work. How do you navigate complex or unfamiliar cultural contexts, especially when you are an outsider? How do you ensure your approach remains respectful and authentic? 

O: When I want to photograph sensitive topics in travel photography, a respectful approach is truly important. When I go there knowing their traditions, beliefs, and sensitivities, I have a better idea of how I should behave and what I need to pay attention to when taking photos.

I always make sure to communicate with the person I'm going to photograph beforehand. I try to gather information about them and provide information about myself. I always explain my purpose, why I'm taking the photos, and how I plan to use them, and I get their approval. I never, ever take photos if the person does not give permission.

In all my interactions, I'm very careful to be honest and respectful. I try to empathize. Spending time with them, listening to their stories, gives me a better idea of what I want to convey.

It's always easier to photograph someone from your own culture - you can communicate more easily and understand better. But photographing different cultures feels like a personal challenge to me. It's always more challenging, but if you are able to convey that sincerity and trust, you can overcome that challenge more easily.

For example, when I went to photograph the Yazidis, something happened. They have a midday meal ritual during their ceremonies, where they set up huge tables and anyone around is invited to eat. They invited me to join, and I was presented with a dish I had never eaten before. When I told the guide I couldn't eat it, they said I absolutely must, as not eating would be seen as disrespectful. So I ended up eating it, even though it was difficult for me. Those were truly incredible moments for me.

If you want to get to know people from different cultures, you need to be knowledgeable about many aspects, and when you visit them, you should act as if you are one of them. I admired the Kalash people so much that a young man there even told me I was now a Kalash woman. Hearing that and seeing that they accepted me was an incredibly powerful feeling.

A: You’ve photographed challenging and sometimes dangerous environments, like terrorist zones and industrial sites. How do you prioritize your safety while still capturing the essence of these places?

O: I really didn't know how to answer this question, and I asked myself the same question now. I think I couldn't find the answer, and I realized that I haven't taken much precaution in this regard. When taking photos in a steel factory or a coal mine, the only thing I wanted was to take photos. I never thought about how it might affect me or what might happen to me. In industrial areas, I always had a guide with me, and they had designated a few places where I could take photos, so I only took photos within those boundaries. Now, reflecting on this question, I think they were more concerned about my safety than I was.

When I'm taking photos, I seem to lose myself, and I'm sure I could have gotten myself into trouble in those situations.

But if you're talking about terrorist zones, some regions of Turkey were under the influence of terrorism for years, and we couldn't even go to those areas in our own country. I thought those areas were safer now, but when I went there, I heard from the local people that some places were still not good, and they even warned me not to go to certain villages. There were a lot of military checkpoints and barricades on the roads I passed, and it was a bit unsettling, and I would think "what am I doing here" every time I went through them. But when I picked up the camera, I would forget everything.

I had a similar experience when I went to the Kalash region, as it's right on the border with Taliban territory, we had to take a part of the journey accompanied by military vehicles. I guess that's what passion looks like sometimes. This question was really difficult for me to answer because I realized I didn't take any precautions regarding these issues at all, I just followed my excitement and sense of exploration. I think I need to be much more careful about this in my future travels.

A: You’ve described discovery as the greatest feeling in travel photography. Can you share a moment when an unexpected discovery impacted your work or perspective?

O: Ah yes, as a travel photographer, you can return from the miles of road you've traveled without getting what you wanted. Just like how I went to Iceland and came back without being able to photograph the northern lights.

I'm actually not a landscape photographer, but I wanted to experience the beauty of nature and witness those moments. I planned a 1-week trip to Iceland, but I returned without seeing or photographing the northern lights. Yes, that's the nature of photography. You should always be prepared for the things you really want but can't achieve. You definitely need a bit of luck when taking photos. Even though I never got to see or photograph the northern lights, I had the chance to photograph the incredible nature and beauty of Iceland.  

And I experienced a shift in my perspective during my DEQ project in Turkey. I went to visit one person multiple times, just to take their photo. We had a great connection, but they never allowed me to take their photo. I really wanted that face to be part of my DEQ project, but it didn't happen. The last time I went, they even hosted me, but still didn't let me take their photo.

These experiences made me realize that I always need to be prepared for anything, and I should keep in the back of my mind that I may not get what I want when I go to take photos. Even if I can't capture what I set out for, there are many things that still remain valuable to me. I try to just savor the moment.

A: Through your travels and the stories you’ve captured, how has your perspective on the world changed over time? Any specific traditions, rituals, or interactions that left a lasting impression on you?   

O: In my travels, I've been deeply impacted by cultures with rich traditions, beliefs, and lifestyles. That's why I'm planning to travel to these places a second time to get to know them more closely. The Kalash people and the Yazidis are definitely among the cultures I will visit again. They have incredible histories, and everything they share and tell is very impactful.

The Kalash people live in three valleys on the border with the Taliban in Pakistan. Despite being surrounded by a strict Muslim community and being on the Taliban border, Kalash women have incredible dignity and freedom. Despite these geographic challenges, they have managed to preserve their traditions and customs. They drink their own homemade wine, and during their three annual festivals, women and men dance together. For example, divorce only happens when the woman wants it, and women who want to change their husband can write a letter proposing marriage to the man of their choice, and pay the bride price for the marriage to happen.

Kalash women also isolate themselves in Bashali houses during their menstrual cycles, as they believe they are sinful during this time. They also believe it's inauspicious to wash their hair at home, so they wash it by the water's edge.

I was also very surprised by many things about the Yazidis. They are an incredibly hospitable and warm community, but they also have very strict rules. The Yazidis pray facing the sun, as fire, sun, and water are sacred to them. This is why they don't have places of worship, and I was shocked to learn that the punishment for converting religions or marrying someone from another faith is death. They also avoid eating certain foods like lettuce, and some animals like the black snake are sacred to them, so you can see them during their celebrations.

Being a guest in these rich cultures and lives enriches you as well. Your perspective changes, and I think as I get to know different cultures and traditions, I'm shedding my prejudices. As I begin to see the commonalities despite the differences, I realize that the common language of a smile is what really matters. Despite our diversity in beliefs, cultures, and faiths, we share this world, and the only thing we need to do is practice empathy and respect.

A: We’ve talked about the meaningful stories you uncover through photography, but I’m curious—what other types of stories do you enjoy? What are your favorite books or movies?

O: I absolutely love reading books, and I have a vast personal library. Sometimes I even re-read books that I've deeply connected with and that have left a strong impact on me. The most recent book I read was Nadia Murad's "The Last Girl," which I picked up to gain a better understanding of the Yazidi people. It was an incredibly impactful book, and I read it while fully immersing myself in every moment.

After attending a Yazidi festival, I decided to read the book again. I was curious to see how my experience and newfound understanding of the Yazidi culture would shape my perception of the book. Reading it again with a fresh perspective after being exposed to their traditions was a meaningful exercise.

While I thoroughly enjoy watching films, I always prefer to experience them in the cinema setting. As I watch each scene unfold, I find myself searching for photographic moments and making mental notes of them. In a way, I feel like I'm nourishing my photography with these cinematic experiences, using the visuals I encounter as inspiration.

A: You often emphasize the importance of passion in your work. What advice would you offer to aspiring photographers seeking to discover and pursue their passion in this field?   

O: There are certainly important points in continuing and developing a passion for photography. First and foremost, you must allow the art of photography to excite and give meaning to you. Being a passionate photographer does not simply mean having excellent technical skills. There needs to be an intrinsic connection and emotion in the photographs you capture.

My advice to aspiring photographers would be to focus on subjects, themes, or styles that truly motivate them. The sense of discovery will always keep that desire alive. Essentially, they need to allow themselves to simply enjoy the act of taking photographs - to engage with the moments that captivate them.

As a documentary and travel photographer, I can say that respect and empathy are paramount. I would advise against taking photographs of models without first communicating with them, introducing yourself, and obtaining their permission. The connection and communication you establish should always be a priority, and you must allow the model to get to know you as well. Empathy is crucial in this scenario. They must understand that the subject of the photograph is their model, no one else. No matter how technically skilled you are, it will be meaningless if you do not have that fundamental respect and connection with your subject.

A: Looking ahead, what are the next projects or stories you’re most excited to explore and share with the world? Are there any uncharted places or untold stories you’re eager to bring to light? 

O: Yes, absolutely. But I do want to complete some of my ongoing projects.

I will revisit the Kalash people and the Yazidis, as there are still some aspects I feel are missing from my work on this project.

I have also been researching a community in the far northern region of Russia, the Yamal Peninsula, where the Nenets people live as reindeer herders. This is a very challenging prospect for me, as the destination is extremely cold, and there is no proper lodging - I would have to stay in tents with the Nenets community for at least 10 days. I have some reservations about the harsh cold, but I am determined to undertake this project.

Another community I am eager to visit is the Pamir Turks. I have conducted extensive research on this group as well, and the logistics are equally demanding. They reside in a remote region of Pakistan, in the mountains, and to reach the Wakhan Corridor where they live requires special permits. The journey would involve traveling on mules and trekking for kilometers.

There are so many undiscovered places waiting to be explored, and each new discovery opens doors to the next. The thrill of embarking on a new expedition is something that reignites my passion again and again.

You can find more about Ozlem following these links:

Drawing from her own life experiences, Ada explores how art can transcend temporal boundaries, offering viewers a glimpse into her "inner world" while sparking universal connections. Her adoption of AI technology has expanded her artistic vocabulary, allowing her to reimagine and reinterpret classical motifs through new digital lenses. Through exhibitions in major cultural hubs like New York, Paris, and Rome, Ada is making waves worldwide and redefining the relationship between artist and audience in the digital age.

In this interview, we delve into her creative philosophy, the transformative moments that shaped her work, and her thoughts on art's evolving place in a world where technology and creativity intersect like never before.

A: How have your studies in art history and your experience as a curator influenced your transition into digital and multimedia art? Are there specific techniques or perspectives from traditional art that you reinterpret digitally?

AC: They gave me a foundation and a way of seeing connections between eras and styles. I draw a lot from what I’ve learned, especially from how the Surrealists and Dadaists broke norms. I like to bring that into the digital realm: playing with compositions and scenes that sometimes seem impossible but come to life in this context.

A: What initially attracted you to NFTs, and how did entering the digital art market transform your relationship with your work and your audience?

AC: NFTs hooked me because they gave me a way to create unique digital pieces. It was incredible to see the audience respond, connecting differently with my pieces, wanting to be part of the story and “own” that digital work. In the end, I felt like a door had opened to reach people from all over the world.

A: How has AI influenced your creative process? Have any unexpected challenges or discoveries come up when combining this technology with traditional artistic techniques?

AC: AI has changed my creative process a lot. At first, it was hard to give up control and let it “interpret” my ideas, but I realized that this often leads to amazing discoveries. Every time I use it, I feel like I’m playing with something unknown. It’s also challenging because the results aren’t always what I expect, but that’s where the most interesting things happen. The best thing I've experienced with AI is seeing how it interprets my photographs; it blew my mind for a while.

A: You’ve mentioned that artists evolve through their personal journeys. Could you share some specific experiences that have shaped your artistic journey and process over the years?

AC: Sure, one of the most important moments was when I had a stroke. It was a turning point; it made me rethink what I really wanted to do with my life. Since then, I think my work reflects that constant search for meaning, that exploration of our fragility and strength. That moment taught me a lot about how fleeting life can be, and in a way, it pushed me to focus on art as something essential.

A: Has AI allowed you to express aspects of your journey that traditional media couldn’t capture, or has it introduced themes and ideas that you wouldn’t have explored otherwise?

AC: AI has allowed me to approach certain themes, like fragmentation or identity, in much more experimental ways. With AI, I can play with reality in a more abstract way, creating scenes and characters that reflect human complexity in a way I couldn’t achieve with traditional techniques.

A: Your work often explores your “inner world.” What recurring themes or essential elements of the human experience are central to your art?

AC: My art explores a lot of identity, memory, and the ephemeral. I think, at its core, art helps us understand what we can’t always put into words. I believe that as artists, we make art to show those fragments of our minds that remain unspoken.

A: If you could describe one of your pieces in your own words, which one would you choose, and what would your description be?

AC: My favorite piece is always the latest one. Honestly, I don’t like describing my works. I think the magic of any piece is lost when the artist explains it. Art should be a visual language that invites the viewer to feel, without guiding them too much. Each person should find their own meaning in the work, because that’s where the art truly lives.

A: To get to know the woman behind the art: what hobbies or interests do you have outside your creative work?

AC: I’m a chess fanatic—I play whenever I can. I also love watching sports, especially my football team, Sporting de Gijón, and when I have some free time, I dive into books and documentaries about art history by the millions, haha.

A: Beyond your artistic work, have you explored other areas of the crypto world, like trading?

AC: Yes, that’s why I love the FC because it combines two of my passions: art and crypto. But I’m the worst trader ever—I should’ve held onto the ETH I bought for $40, haha.

A: How has your involvement in NFTs shaped your perspective on digital ownership, and how do you think it affects the relationship between artist and viewer?

AC: Digital ownership is one of the most fascinating things that NFTs have brought about. It’s special to me that the viewer has a closer connection to the work, which becomes something “theirs” in a new sense. It’s like owning an original, but in a virtual space, and that strengthens the bond between artist and collector.

A: As someone with experience in both traditional and digital media, what advice would you give to emerging artists wanting to integrate these realms?

AC: I’d tell them not to be afraid to experiment. There’s no single formula, and the journey is about trying, exploring, and finding what fits each person. Digital and traditional art can coexist, and the key is to find your own language.

A: What question do you wish I’d asked, but didn’t, and how would you answer it?

AC: “What would you do if you lost all your digital work overnight?”
I’d have a one-hour existential crisis and then get back to making art. Rising from my ashes like a phoenix is something I excel at, haha.

You can find more about Ada Crow following these links:

Above, Immersive digital art exhibition Surreal Baroque in Retro-Futuristic Dreams by Ada Crow at the ART IN SPACE GALLERY Dubai

Marcelo’s artistic journey began in his childhood years with continuous drawing and experimentation, leading to his first solo exhibition at just 18. Over the years, he has honed a multidisciplinary practice that prioritizes thoughtful engagement with each chosen medium. His transition from working as a web developer to discovering generative art allowed him to explore the intersection of code and art in a way that redefined his approach to creativity. Marcelo’s diverse exhibitions span Brazil, Argentina, India, Europe, and more, and he continues to shape the contemporary art scene as a member of Grupo Poro, where he collaborates on socially engaged urban interventions that inspire public dialogue and a renewed sense of place within cityscapes.

An advocate for the power of creativity in both personal and public realms, Marcelo has also authored numerous publications reflecting his dedication to socio-cultural issues and the potential for art to address critical questions about society, community, and space. He has received prestigious awards, including the Jorge Portugal Art Prize and the Funarte Contemporary Art Prize, solidifying his role as an influential figure within Brazilian and global art communities.

In this interview, we delve into the evolution of his work, his dedication to merging traditional and digital art forms, and his belief in art’s role as a tool for social and cultural transformation. His story offers an inspiring look at the possibilities of art in the digital age, as well as the resilience and passion that have driven his journey.

A: You’ve been a constant presence in the art world for over two decades. Can you tell us about the beginning of your artistic journey and what first inspired you to start making art?

MN: From a very young age I always drew a lot, I loved to experiment with different materials and would spend hours drawing. I also loved to read and found in books a passionate universe, both for literature and for graphic arts. When I reached my teens, I started to go to all the visual art exhibitions that took place in my city. I also went to the many festivals that took place there: video, poetry, film, theater, dance, music, etc. Since I already had a passion for learning, I started taking free courses. I was lucky enough to study in public elementary and high schools, where the arts and humanities were much more present and varied than in most Brazilian schools. For example, I took glass painting in elementary school, and woodworking and philosophy in high school. In addition, I was always experimenting and creating on my own. From this melting pot I began to develop a poetic style, which at first involved experimenting with stencil painting and poetry. When I decided to study art at university, I fell in love with photography, engraving techniques and urban intervention.

A: Your work spans many disciplines—generative art, photography, printmaking, and urban intervention. How do you balance these different mediums, and what connects them in your creative process?

MN: The language or medium to be used is defined by the project I'm working on. Some projects have to do with photographic research, others are more suited to being materialized as urban interventions. Sometimes the project is born out of a desire to experiment with a particular language. At other times, the “subject” I want to investigate is what drives the definition of which medium will be used. Each time I'm more involved with one language or another.

A: You’ve mentioned before that you found an "instant passion" for generative art after discovering fxhash. Did your prior experience as a web developer shape your understanding and appreciation of generative art? And how did the process of creating via code change your approach to art making, if at all?

MN: It really was an instant passion. The process I described above about my involvement with drawing and other artistic languages happened in a similar way with programming. I started out as a self-taught programmer, studying and experimenting as a teenager with a language called "Basic" on computers where the only way to record data was on K7 tapes. When the Internet started to become accessible (mid-1990s), I spent a lot of time immersed in this universe that mixed the promise of free knowledge for all with an environment where people from all over the world could come together to share and learn from each other. It was a beautiful and promising time. Somehow, the generative art environment and the fx(hash) community reminded me a lot of the effervescence of that time, but with much more powerful possibilities for making art. And yes, generative art combined a lot of what I had learned and developed during my years as a web developer with my artistic experimentation practices.

A: Your first generative art collection, "Monotipia," was inspired by traditional printmaking techniques. How do you see the relationship between the tactile world of printmaking and the digital processes of generative art?

MN: From the beginning of my experiments with generative art, I was looking for the possibilities of generating texture that I could achieve with the code. These experiences brought back memories of images from when I worked with metal engraving 20 years ago. This memory comes both from the textures of the prints and from the process of "opening" the ink with the roller on the glass table and then inking the matrices. I have even experimented with monotypes using the "leftover" ink from the glass table, applying the paper to it, and removing the printed images. Monotipia recaptures some of that experience.

A: "Junina" pays tribute to Brazil’s June festivities, and you’ve often drawn inspiration from cultural and social elements in your work. How do Brazilian culture and your environment influence your art?

MN: I believe that artists should be connected to the time and place in which they live. The Brazilian culture is very rich and diverse. I've always been interested in getting to know its manifestations, from popular culture festivals to avant-garde creations. I have been formed and crossed by all of this. The June festivals are especially strong in the region of Brazil where I currently live, they have a very present imaginary in the affective memory of the people and generate a beautiful transformation of urban landscapes in the months of June and July. Junina is my homage to the power of these festivals.

A: You often reference rhythm, movement, and sound in your works, especially in projects like "Poema." How do you conceptualize these elements visually, and what role do they play in shaping your compositions?

MN: Even static images have rhythm and can evoke movement. Somehow this rhythm and movement evokes music (Kandinsky was an artist who wrote brilliantly about this relationship). The Poema project is related to my passion for visual poetry. Throughout the creation process, I wondered what it would be like if the outputs were used as musical scores or sound poems. I invite anyone interested to try reading some of the Poema´s outputs aloud.

A: We’ve deeply explored your creative process and your life as an artist. What about Marcelo, the person? What type of music moves you, what’s your rhythm?

MN: I love music. My favorite styles are jazz and Brazilian rhythms like choro, samba and MPB. But I also like electronic music, soul and reggae.

A: On another personal note, do you have favorite outputs in your collections? If you had to choose a favorite Monotipia, Junina, and Poema what would they be?

MN: It's hard to choose just one from each collection, but I think my current favorites are: Monotipia #85, Junina #41 and Poema #16

A: You’ve participated in many urban interventions with Grupo Poro. How do you think urban spaces and public engagement contribute to the power and relevance of contemporary art?

MN: I believe that art can contribute to critical thinking about contemporary problems with a poetic approach. When art acts directly in a specific context, place or situation, it can create other ways of perceiving those specificities and thus broaden the imaginary about them. This is very powerful with urban intervention, which takes place and affects public space, often inviting other people to also engage in questions about the city and the uses of its spaces.

A: As someone with a background in both art and web development, how do you see the relationship between technology and creativity evolving in the future?

MN: I believe in technology as a tool to materialize and enhance creativity, whether that technology is something as simple as a pencil or something extremely complex like blockchain. I hope that creativity and other wonderful human capabilities will not be captured by corporations, and that human societies will be able to propose collective solutions to the enormous challenges we face today.

A: Looking ahead, are there any new mediums or themes you’re excited to explore in the future?

MN: I still have a lot to learn and experiment with when it comes to generative art and I'm very excited about this field.

You can find more about Marcelo Terça-Nada following these links: