If you've always thought classical paintings were flat and overly focused on Western perspectives, you're mostly right. Imagine taking the iconic "Birth of Venus" and adding themes of gender fluidity and modern identity: that's the way YuYu is re-engaging with classical art in the modern age. Minorities, who have long been relegated to background roles, are now brought to the forefront of these classics. With a unique approach that brings together historic masterpieces and current societal topics, his work initiates powerful discussions and offers a fresh perspective to the Web3 era.

YuYu's journey began in architecture school, where he examined the layers of classical artworks. He found beauty in these pieces but also saw a glaring lack of inclusion and representation. Determined to break these barriers, YuYu started merging traditional art with contemporary themes such as gender, identity, and societal norms.

His process involves studying original scenes and recreating them in his studio, bridging the old and the new. Through his creations, YuYu invites viewers to question the establishment and its Western-focused narratives, calling for a more inclusive view of history.

In the following discussion, we asked YuYu about his artistic philosophy, his approach to reinterpreting classical works, and the powerful messages behind his art.

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As an artist, you manage to both honor and challenge classical art history. How do you strike that balance? What guides your choices when reinterpreting iconic pieces?

Looking at our past can function as a lesson and a reminder of what to deter from on a societal level. Artworks from different periods offer unique views on the societies under which they came into existence. Looking at them becomes much more interesting when combined with a historical understanding of their creation period. This realization came to me during my Architecture studies where I was exposed to art history. What has become apparent in that process, and something that became the very foundation of my practice, is how, despite the undeniable beauty of those works, their thematics often lack the levels of inclusion our contemporary perception of society requires. What is considered as “high art” on the global stage almost solely derives from the West and civilisations the West views as its predecessors.

Finding a balance between honoring the works of the old masters while maintaining a criticality toward the canon has been probably the biggest challenge. My only tool to ensure there is an understanding of my intentions, beyond just the visual appropriation, is my voice and the artist statements I always publish along with the release of an artwork. In these, I analyze in depth the process of creation and how an original artwork attracts my attention. Everything usually starts from a story –either a personal one I feel the need to share or a myth (depicted in the original artwork) that seems to me as seeking reinterpretation. Probably the longest stage of my creation process regards this specific aspect, the story. How could my contemporary perspective and experiences co-exist with a scene created centuries ago? How do I reinterpret a story while honoring the artist behind it? Those are recurring questions, they return with each creation and the answers often differ.

Each artwork is unique in its own way and needs appropriate treatment. One thing that remains consistent in all my creations is how I thoroughly study the original scenes and create an exact clone of the light conditions and body shapes in my studio. Closely following the directions of the old masters and the ways they approached their models helps me ensure my part will infuse the image seamlessly, blurring the lines of what is old and what is new.

Your artworks always leave a lasting impact. When viewers encounter them, what emotions or reactions do you hope to evoke? Do you intentionally aim for shock, introspection, or empathy?

As any artist putting their most personal works out in public, I too hope my images and messages will be successful enough to evoke emotional reactions in their viewers. Simultaneously though, I am aware it’s almost impossible to predict the exact emotions an artwork can trigger. Emotions are complicated and subconscious operations of our brains. They are heavily influenced by the lives we lead, the things we have experienced, and the traumas we bury deep underneath our public facades.

When I create I harness personal emotions and allow them to transform into something visual, something that can carry a message and be understood by people who do not necessarily share the same emotion. I want my work to be appreciated universally, not only by my peers and/or my communities. Because what it fundamentally aims to achieve, is to invite us all to question things we have learned and to open our minds to a more welcoming and inclusive world.

Could you share a specific piece where your presence within a classic painting delivers a powerful message? How do you disrupt the original context, and what narratives emerge from this collision of past and present? What societal or cultural commentary does this piece convey?

One of the most successful artworks I have created in terms of how achieved the fusion of old and new is from 2022 and is titled “Not Today, Bitch”. Building upon the famous work of Artemisia Gentilechi’s “Tarquinius and Lucretia” (1620-1650), “Not Today, Bitch” twists the original narrative and embraces an unapologetic and rebellious side of what I constitute femininity. While touching on the topics of the male gaze and concepts of hyper-masculinity vs hyper-femininity, the work objects the popular perceptions and gender biases and manifests genderless feminine empowerment.

What is particularly successful in my eyes, is how “Not Today, Bitch” uses the original myth to build a contemporary narrative with which many can relate. It's not just a work about YuYu’s life path but rather a visualization of a form of resistance. Where originally the victim was powerless towards her aggressor, here it comes back to life through me only to respond to her pillager “Not Today, Bitch”!

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Symbolism transcends time and culture, serving as a universal language in art. How do you use symbols, whether borrowed or invented, in your work? Do you subvert or reinforce established ones? How do they resonate with contemporary audiences, and what new interpretations do they invite?

I do not always use symbolisms in my work but it's definitely something I enjoy doing. In my first artworks, you can see many contemporary accessories –harnesses, sports gear, Adidas socks, caps, etc. These seemingly unfit elements were used as nodes of the underground Berlin queer scene, a scene that helped me become who I am today and was a huge part of my life—during that time. For those familiar with the city’s scene during 2015 and 2020 the references are more than obvious. Later in my works, starting from 2023, there is less accessorizing and more of reinterpreting and/or combining existing symbols from other artworks. At times I would even intervene with the artwork's composition to create space for additional symbolisms.

Visual languages need contemporary elements to become relevant. Same as with memes, each art period established unique symbolisms that were understood and appreciated at their time. But the world is changing and each generation needs to find its own symbolisms they collectively accept. Bringing symbols into the masterpieces of the old masters is not just a way to imply a message, but also an attempt to bring the works back to relevance and invite viewers to look at them under a new perspective. My hope is always that the audience can appreciate both my interpretation and new meanings of the work, but at the same time re-evaluate and re-appreciate a centuries old artwork that they perhaps haven’t seen since they were in school.

In your opinion, how can digital art and NFTs contribute to a more inclusive and diverse art world? Do you see these platforms as leveling the playing field and allowing marginalized voices to thrive? What challenges and opportunities do you think arise from this shift?

This is such a hard question to be honest. There are so many aspects to look at this equation. In terms of digital art, just like in any manifestation of art, plurality adds depth, and thus, allows for the medium’s evolution. Echo chambers rarely lead to progress. Naturally, as long as we secure underprivileged voices and get adequate accessibility to digital tools, I am sure digital art will continue contributing to a more diverse art world as it has been doing since the early 60s.

When it comes to platforms I am not sure they alone can carry such an important task. I like to think of platforms as galleries. Even though they can help an artist with visibility, their business model relies on sales, and as an extension, they often tend to follow what the market dictates. While I can not talk on behalf of each queer, POC, or underprivileged individual in the space, my experience working with platforms in the NFT ecosystem has been very good. I felt both welcomed and supported pretty much in every partnership I had. The issue is that regardless of efforts of visibility, our industry lacks a layer of solid cultural appreciation. I am positive we are undergoing a significant change in that regard but until then we are still trapped in the speculative nature of crypto culture.

Beyond the famous masterpieces, are there any lesser-known historical artworks that you’d love to reinterpret or insert yourself into? What draws you to these underappreciated pieces, and how might you breathe new life into them?

Hehe! I can not open all my cards, can I? Without going into too much detail, I can share with you that I have a very large archive of artworks that I haven’t yet used. Every artwork I have ever come across and touched me is inside this archive. My interest in old works is very rarely influenced by how acclaimed they might be. What attracts me has to do with the characters and their stories, the lighting, the dramaturgy –things I can play with and incorporate into my creative practice.

The reason behind collecting them is that I never know when a story would come up and with which artwork it would be best matched.

Identity is central to your work. How does your queerness influence your perspective? In what ways do you challenge normative representations through your own identity, and what impact does this exploration have on your artistic voice?

My work’s initiation derived directly from a need of self-exploration and belonging. Especially in the beginning, it was fundamentally about identity. Both my queer and Asian identities played an important role and reflected directly in the themes of the artworks. It has always been less about rebelling against the normative representations and more about creating a space where diversity could exist and flourish. If you look at my first works the message is very simple: I am here, I exist, I thrive. Deep inside I know how without those early days of creating and exploring myself, I would have probably never become the person and artist I am today.

Looking ahead, what message or legacy do you hope your work will leave for future generations? Whether it’s a call for empathy, a reimagining of history, or a celebration of diversity, how do you envision your art resonating with those yet to come?

Oh damn, that is really hard to say. I guess as long as the work remains somehow relevant to the generations to come that would already constitute a creative success. On the other hand, if my work remains relevant hundred years down the line it means we didn’t make much progress on a societal level. Tough dilemma (laughs).

I can not say I envision for a world that far from ours. What I hope though, is that my themes will eventually become obsolete elements of a long past, and the artworks will remain to serve as reminders of the importance of growth and evolution through collectively celebrating the aspects that make each of us unique.

Thank you YuYu!

X (Twitter): https://x.com/cyberyuyu

You can follow Gallery on X (Twitter), Warpcast, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

The ever-ongoing fervor surrounding AI-generated art has hit again, igniting passionate debates reminiscent of controversies about art mediums throughout history. At the heart of the latest episode of “AI artists vs. the rest of the world” stands Petra Voice. Petra's innovative approach and relentless pursuit of expression have propelled her into the on-chain art space. Her work in NFTs and AI-generated art has expanded her artistic reach and cultivated a community of collectors and a worldwide fandom—many proudly displaying Petra’s "Babes" as their PFP, a testament to her influence.

In the following chat, Petra offers us an in-depth look into her workflow. Each of her pieces begins with a spark—often triggered by social vibes and cultural pulse. Her process is dynamic and evolving, marked by experimentation, iteration, and refinement. Ultimately, all of this culminates in creations that resonate with the signature style everyone has been hungry for.

Petra also talks about her exploration of NFTs, discussing how this space has changed her stance in the art scene. She highlights the crucial role collectors play in the space, not just because of their wallets, but as the ones who shape new art trends.

Finally, the conversation takes a deeper tone as Petra addresses the intense debates around AI-generated art. She shares her thoughts on navigating both praise and criticism, reflecting on her recent successful drop on Foundation, "Babes," and the strategic timing that capitalized on the heightened attention from the controversy.

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Hi Petra. Could you share your personal background and how you transitioned to creating AI art? What drew you to tech over traditional tools?

I first encountered AI about two years ago. At that time, I was in a state of uncertainty: I had just finished a long-term project, moved to another country, and realized I didn’t know what I wanted to do next. I had accumulated a lot of knowledge and skills, but I didn’t know how to use them.

When I first tried to create art using AI, I was immediately captivated. This technology offered a new, exciting way to express myself and explore creative possibilities beyond classic tools. AI quickly became my everything. I was then able to create art that felt both innovative and deeply personal.

You have explored various aesthetics in your work, such as fantasy, post-photography, portraiture, abstraction, and both dark and joyful elements. How do you approach this diversity, and what inspires you to look into such varied subjects?

My approach to exploring diverse aesthetics is driven by curiosity and a desire to express different facets of the human experience. Each phase of my process has been shaped by the technical advancements of the time and by my evolving skills, ideas, and thoughts.

Fantasy allows me to create worlds and characters that push the limits of imagination. Post-photography and portraiture help me explore identity and the human form, while abstraction lets me play with shapes, colors, and emotions in a more fluid way. Both dark and joyful elements are important as they reflect the full spectrum of human feelings.

Inspiration often comes from personal experiences, cultural influences, and the dynamic nature of AI itself. It permits endless experimentation and discovery. The transition from one aesthetic to another often mirrors my personal growth and the progression of my artistic vision, making each period a unique reflection of where I am at that moment, technically and creatively.

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You frequently explore themes related to the body and the inner self. Can you elaborate on how these are reflected in your art? Is this something personal, and how do you inject your experiences and feelings into your work?

Themes related to the body and the inner self are indeed central to my work. I’m fascinated by the complexities of human nature and identity. These topics are personal, as they often stem from my experiences and introspections. I use AI to explore and visualize the multifaceted aspects of our inner lives, creating art that speaks to the hidden emotions and thoughts we all harbor.

The human body, especially the female form, is a recurring subject in what I do. I’m drawn to its beauty, strength, vulnerability, and the stories it tells. This exploration is about the physical form and also about the internal landscapes we navigate daily. My journey as a woman and an artist influences this. The emotions, challenges, and triumphs I’ve experienced become parts of my art, helping me create pieces that really connect with people.

By bringing together my feelings and experiences with what AI can do, I try to create art that invites viewers to think about their own inner worlds and the masks we wear. It’s a way for me to unite with others, to share a part of my soul, and to remind us all of the depth and complexity that lie within each of us.

Can you walk us through your process when creating art?

It always begins with inspiration and conceptualization. I draw this mostly from my emotions, current events, and pop culture. Often, a single image or feeling can bring an idea. I brainstorm by jotting down notes and creating mood boards to visualize the concept.

The creation phase involves drafting initial prototypes and experimenting with different prompts. Sometimes unexpected outputs and experiments transform my idea, so the process is very dynamic. After multiple iterations, I refine the work and make adjustments. The final touches include adding details, color correction, and ensuring consistency with my style.

Within this process, are there any rituals or habits that enhance your creativity?

Yes, several rituals and habits: I always try to change my environment to keep the flow of inspiration going, so I often take long walks to seek inspiration. Discipline also helps me a lot in my work process, although I can get so engrossed in creating that it can occupy me for an entire day.

An inspiring workspace with art, plants, and meaningful objects enhances my creative flow as well.

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What drew you to NFTs, and how does this medium fit with your artistic practice?

The innovation of NFTs and blockchain tech fascinates me. They are new ways to create and share art. The supportive NFT community was also a significant draw because it brought lots of opportunities for collaboration and growth. I quickly found my audience and community who warmly welcomed me and helped me reach new heights.

I do think NFTs make my art accessible to a global audience, breaking down barriers. They allow for interactive and evolving art pieces, expanding the frontiers of art forms. Additionally, they bring new revenue streams, supporting my artistic practice sustainably. Before NFTs, I couldn't have imagined one second making a living through my art, but the crypto-art market is very different from the standard market, and I feel like this is where I belong.

What role do you see collectors playing in the digital art and crypto art space?

Collectors are important in these spaces. They provide crucial support and validation. They help artists like me to pursue our work full-time. They aren't just buyers; they're curators who help shape the digital art landscape and influence trends. Their engagement with artists and other collectors strengthens and builds the community.

However, it's not all positive. Sometimes, the pressure to please collectors can stifle creativity. There's a risk of becoming too focused on what will sell rather than what you genuinely want to create. It's just a question of balance between staying true to your artistic vision and making a living.

How do you think collecting digital art differs from traditional art forms?

Collecting digital art is more accessible in my opinion. It opens the doors for a broader audience to participate. Unlike classical art, where you have a physical piece hanging on your wall, digital art can be experienced in unique ways. And you can become a collector for a very small and fair price, especially with edition formats.

But with this accessibility comes challenges. The sheer volume of digital art can be overwhelming, and the ease of access means that collectors have to sift through a lot more to find truly unique pieces.

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There has been much debate about AI art, and you were directly targeted. What are your thoughts on these discussions, and how do you navigate the criticisms and praises of AI-generated art?

The reaction to my recent tweet was super intense, to say the least. I wanted to convey that art, whether created by traditional means or through AI, is a form of expression that should be open to exploration and acceptance. The diverse responses, from appreciation to harsh criticism, reflect the wide range of perspectives people hold regarding AI art.

Navigating this landscape is challenging. The praise feels validating, but the criticism can be tough to handle. I remind myself that art is meant to provoke thought and emotion. If my work is getting people talking, then it's hitting the mark. I take all these emotions as part of the dialogue. It's a learning experience and it helps me grow as an artist.

A couple of days after this debate, you released 'Babes' on FND, which was a huge success. Could you talk about this drop? Why did you choose this timing?

The 'Babes' collection is a quite personal reflection. Moving to Asia and encountering the hyper-cute aesthetic of anime and cartoon imagery left a strong impression on me. We strategically timed the release to capitalize on the increased attention generated by the recent debate.

The collection was planned well in advance of the scandal, so we decided to proceed as planned and view the scandal as a fortunate coincidence that brought more attention to our drop. I had been preparing this collection for a long time and was uncertain about its format and platform for release, but given its extensive scope, I knew this project demanded a serious approach, so I didn't rush it. The team at FND actually reached out to me themselves with an offer to launch this project together.

Looking ahead, how do you envision AI art impacting society? Do you believe it will redefine cultural norms and artistic appreciation?

I think AI art will significantly impact society by redefining what we consider art. It introduces new techniques and possibilities and allows artists to create works that were previously unimaginable.

This will challenge conventional notions of authorship and creativity. As AI art becomes more mainstream, it will likely reshape cultural norms and artistic appreciation, encouraging broader acceptance of diverse artistic expressions. AI's ability to democratize art creation means more people can participate in the creative process, unfolding a more inclusive art world.

What ethical considerations related to AI-generated art should we be aware of?

As an artist working with AI, I think it's key to consider several ethical aspects related to AI-generated art.

Firstly, defining authorship and ownership rights of AI-generated artworks can be complex, especially in collaborative or multi-dataset scenarios. I advocate for clear and fair legal frameworks that protect the interests of all parties involved.

Secondly, I am mindful of potential biases that AI systems may inherit from their training data, which could unintentionally affect the art they produce. Ensuring we use diverse and representative datasets is essential to minimize biases and create art that’s inclusive.

Transparency in my use of AI is also paramount. I try to transparently share how AI influences my creative process, enabling viewers and collectors to better understand and appreciate the unique contributions of this technology.

Thank you, Petra!

X (Twitter): https://x.com/petravoice

Farcaster: https://warpcast.com/petravoice

Petra Voice

artist's portfolio & links

http://petravoice.art

You can follow Gallery on X (Twitter), Warpcast, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

**Discover Evolved On-Chain Organisms, the collection Le Random curated on GALLERY to accompany this editorial piece.

Within the onchain art ecosystem, Le Random is recognized as an institution in generative art—a practice that combines creative coding, mathematics, human imagination, and compelling narratives. The resulting artworks are dynamic and evolving, offering unique insights into the creative process and underscoring the role of script, computational language, and technology in shaping stories in the algorithmic age.

The team has been curating, educating, and creating in-depth editorial content that provides nuanced context for the future of digital aesthetics and art. Bolstered by funding, the initiative has been expanding its vision with plans for a permanent collection and interdisciplinary collaborations. Their curated collections, including Evolved On-Chain Organisms recently curated on GALLERY, exemplifies their commitment.

Their ultimate aim is to showcase how machines (read: algorithms) can amplify human creativity. Through their works and insightful texts, they advocate for generative art to secure its place in art history, celebrating both its heritage and future possibilities. Led by industry pioneers TheFunnyGuys, Zack Taylor, Conrad House, and Peter Bauman, Le Random is at the forefront of championing this practice and its creators.

We recently spoke with Conrad House, discussing their approach and vision, their mission to promote generative art, and their collection Evolved On-Chain Organisms.

What is Le Random’s curatorial mission, and why is there a focus on generative art? How does Le Random position itself within the Web3/NFT space?

Le Random’s main mission is to tell the story and the important impact of computer-generated art. We want to accomplish this by collecting from the most influential artists across generations while using our editorial as a way of contextualizing the history of the movement. Together, our collection and editorial efforts will better enable our community to understand the past, present, and future of on-chain generative art.

We keep our focus solely on generative art to ensure we provide the necessary amount of attention to the movement that it deserves. Sometimes we see other large-scale collectives with thousands of pieces that range from generative, photography, gaming, collectibles, PFPs, and more. These sporadic collections can sometimes feel convoluted and misinformed, not taking the time to contextualize ideas thoroughly. I’ve always thought about our pure generative focus in an analogical way, imagining us as a chef trying to make the world fall in love with ramen. We could just cook you 10 different bowls of instant ramen but you probably wouldn't enjoy it nor have the time to digest it all. At Le Random we want to take the time to craft the perfect bowl of ramen. Simmer the tastiest broth. Kneed the chewiest noodles. Harvest the freshest vegetables. This attention to detail allows for a dish that's more flavorful and memorable than ever before. You might discover a newfound love or understanding for something only after it's been prepared right. This is what we hope to accomplish with generative art.

How do you guys select thematic focuses and artists for your sub-collections and what criteria must generative artists and artworks meet to be included in the collection?

Our goal is to celebrate the history of generative art, and one of the best ways to do this is by collecting works from key figures across different generations. We don’t have any specific criteria or checkboxes that need to be accomplished for an artist to be included in our collection. We do look for artists who have inspired, artists who have educated, artists who have paved paths, artists who are exploring novel ideals, artists who are technically savvy, and artists who are creating undeniably great work. After deciding we should include an artist in the collection, we begin brainstorming what the best approach would be to have a set of works that showcases their creative process. In terms of thematic focuses, we aim to represent the significant sub-genres of generative art, each one holding its own history. Movements such as ASCII, textiles, AI art, data visualization, audio-visual, algorithmic, and Artificial Life all have constructed themselves through unique journeys. All of these sub-genres come together to help our mission in telling the broader story of generative art.

What title would you assign to the curation you did to accompany this interview, and what is the rationale behind your choice?

Evolved On-Chain Organisms.

Evolved Virtual Creatures by Karl Sims from 1994 was a massively influential Artificial Life work that showcased a simulated Darwinian evolution of virtual block creatures learning to complete simple tasks. Even though Karl Sims hasn’t minted any of his work on-chain, we’d still like to highlight this direct lineage between Sims and the artists included.

Could you provide an overview of this artificial life-focused curation?

The curatorial process began by creating a bucket of works within our collection that we see fit the broader definition of Artificial Life. Once this broader selection is made, we can dive deeper to determine which selection of works best showcases the genre's range. 36 Points by Sage Jenson is a direct representation of AL with the system being created through years of research of complex biological systems to craft a particle-based procedural system that constantly transforms. Works such as RGB Elementary Cellular Automaton by Ciphrd are representations of the historical narrative of the movement, showcasing Stanislaw Ulam’s and John von Neumann’s massively influential Artificial Life experiments done at the Los Alamos National Laboratory.

This curation is particularly relevant in 2024, as AI and AL art are receiving enormous amounts of attention. While AI and AL share similar foundational ideas, they manifest in vastly different ways. Artists exploring Artificial Life typically do not work with pre-trained AI models, but instead create concise systems that lead to incredibly intricate and surprising behavior. These artworks and the ideas behind them are exceptionally powerful and deserve to be celebrated.

How do the artworks in Evolved On-Chain Organisms intersect with generative art, algorithms, and biological systems? What role do interactive and computer-generated art play in enhancing the curatorial vision, narrative, and viewer experience?

Every piece in the curation intersects with generative art by all being created through a systems-based approach, whether it’s procedural code or AI networks. Each of these systems mimics biological processes such as growth, evolution, mutation, and adaptation. Interactive and computer-generated Artificial Life can change in real time, offering viewers a dynamic and evolving experience that traditional static artworks cannot. This distinctive property of computer-generated art is what makes curating the gallery so enjoyable.

Any specific challenges you encountered when curating this collection and how are these challenges addressed?

One of the toughest parts of curating an Artificial Life collection is determining exactly what you classify as artificial life, whether something is AL or something that merely represents it. This distinction can be a tough rope to balance on but there are arguments to be made for each piece selected.Another challenge is making sure that the curation is accessible and comprehensible to a broad audience. Luckily, many of the ways these artists use algorithms are ways of visualizing complex biological data in a creative manner, helping to tell stories about biological processes, ecosystems, or genetic information. Additionally, adding curatorial notes that provide more context behind the process and inspiration can allow viewers to gain a better understanding.

Could you highlight two works that are critical in Evolved On-Chain Organisms and discuss how they contribute to the overall curation?

Two works I’d highlight as vital to the curation are Mutant Garden Seeders by Harm van den Dorpel and self-contained 003 by Entangled Others.

Mutant Garden Seeders are living on-chain artworks. Harm’s use of the  “Cartesian Genetic Programming” algorithm developed by Julian F. Miller and Peter Thomson in 1999 is the textbook definition of Artificial Life. Each piece in the series has a rate of evolution that determines when the composition will change, with each change being determined by the genetic system. As a collector, it’s an incredible experience to have a work evolve with time, incentivizing you to appreciate the minute changes that may occur.

self-contained 003 allows for a behind-the-scenes look into the complex systems created by the duo of Sofia Crespo and Feileacan McCormick. The piece is inspired by the idea of DNA encoding and decoding, a process full of natural emergence. The final output image is an iterative combination of strings of images that act as a dataset of genomes, all coming together to mutate into one final form.

How has GALLERY (the platform) influenced the curation in terms of presentation, accessibility, user experience, and community engagement? How was the overall experience using and curating on the platform? Are there any features or improvements you would recommend to enhance the curatorial process on the platform?

For many collectors, it’s easy for a work of art to simply sit and collect imaginary dust in a wallet without it being given a stage to shine. GALLERY helps play a vital role in our ecosystem by providing collectors a platform to showcase pieces in an aesthetically pleasing manner. Additionally, it can provide a way for artists to display their collections with their ideal vision in mind, allowing viewers to gain a better understanding and appreciation for the work.

The experience of creating your own gallery is very intuitive, which is crucial for accessibility. Spending just five to ten minutes messing around with the UI, you can easily learn how to construct the perfect curation. One thing I’d like to see added to the toolset would be having more control over the sizing of each piece, the default column sizing can sometimes get in the way of a user’s ideal vision. This could be especially useful when adding resolution-agnostic software work that doesn’t have a set aspect ratio. Additionally, I would enjoy seeing video works autoplay when scrolling through a gallery without needing to click through to the individual artwork page. Making the viewing process as hands-free as possible ensures each work can be enjoyed equally.

What future directions do you anticipate for Artificial Life in generative art, and for generative art in general? What aspects of generative art and on-chain art are you most excited about exploring further?

I’ve always been a firm believer that it’s impossible to predict the future, you never know what catalysts might arise that change the trajectory of a movement. One thing that seems certain is the exponential growth of processing power in our machines. As computers become faster, the possibilities of code-based work only grow stronger. We’ve seen this technological advancement directly affect the AI movement. Years ago it was inaccessible for most people to run large neural networks with massive datasets, but nowadays, most people have high-scale GPUs and CPUs that can handle the required processing power to accomplish required benchmarks.

I’m excited to see novel ideas arise as experimentation evolves with on-chain works. The upcoming aside.eth project put together by Distributed Gallery and Verse Works is right up that alley. Each of the works in the series is crafted around a time-locked protocol system which is only possible through the use of on-chain contracts, APIs or Oracles. Ideas that uniquely use the technical tools of blockchains allow for works that have never been seen before.

Thank you for your time!

GALLERY: https://gallery.so/LeRandom

X (Twitter): https://twitter.com/lerandomart

Farcaster: https://warpcast.com/lerandomart

Le Random - A Digital Generative Art Institution

Le Random is building a digital generative art institution with its Collection and Editorials.

https://www.lerandom.art

You can follow Gallery on X (Twitter), Warpcast, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

Over the past three years, Bright Moments has transcended geographical frontiers, uniting artists, collectors, and enthusiasts in a global celebration of creative and social innovation. From Venice, CA, to Venice, Italy, and through Paris, Tokyo, NYC, and other capitals, Seth Goldstein and the team at Bright Moments have written a new chapter in digital art history.

What truly sets Bright Moments apart is its meticulous curation. Each piece brought to the blockchain undergoes a rigorous selection process, ensuring that only the highest-quality generative artworks become part of the narrative. But Bright Moments isn’t confined to the digital space alone. It bridges the gap between the virtual and the physical through its signature IRL live minting experiences—which, as someone who has experienced it can attest, is quite cool and makes the difference. Over this course, Bright Moments has taken over ten major cities, featuring side events and parties, bringing together the most talented minds in the space to create and elevate art. It has also introduced residency programs, fostered unique collaborations, and culminated in a finale collection that showcases the very best of its creative endeavors.

And then there’s the Cryptocitizens crowd. They are represented by a collection of generative portraits specific to each city and minted on site during each event in a unique, almost ritual twist. They embody the DAO—a vibrant, fun, and diverse community that you first meet at your local pre-event meetup (Thanks Irina!) and then hang out with again at a Bright Moments event somewhere else on the globe. These gatherings pulse with creativity, camaraderie, and shared passion. Artists connect with collectors, ideas spark, and friendships bloom. As the sun sets and night falls, everyone socializes and has fun in the city where the event is held—creating an amazing vibe that stays alive on-chain. Forever. Bright Moments is all about art, but it’s also about these bonds formed in the creative process.

We just spoke with Seth, founder of Bright Moments, to reflect on this history right before the ‘Bright Moments 2021-2024 Complete Works’ auction with Christie's this week.

Hi Seth. What inspired the creation of Bright Moments, and how did the initial vision evolve throughout the series of events?

Bright Moments was inspired by the emergence of NFTs as a new file format that seemed to be an important creative unlock, set against the backdrop of the Pandemic which was isolating and depressing.

Reflecting on the very  first event, what were your expectations, and how did the reality of launching Bright Moments compare?

We just began live minting NFTs in person, starting with our CryptoVenetians in the Summer of 2021. We didn’t have many expectations, other than trying to cover the costs of operating the gallery through our commissions from sales.

How did the community’s reception and interaction shape the direction and execution of subsequent events?

With both the minting of our own Citizens, as well as early shows we did with artists Jeff Davis (Portal) and Aaron Penne / Boreta (Rituals), we felt tremendous demand for this kind of in-person art making experience. We came up with a novel financing model, i.e. the mint pass,  that allowed us to generate eth in advance on primary, which enabled us to pay the artist up front and produce the exhibit.

https://www.youtube.com/watch?time_continue=77&v=fkuAUSqbW1A

Can you share some of the unexpected hurdles you encountered during the events and how you addressed them?

We were constantly being faced by unexpected hurdles, it was baked into our roadmap.  I really think our organization as a DAO helped us navigate through all sorts of online and offline obstacles.

Whether that was having 309 of our Venetians stolen from us in a crypto heist, or navigating around Covid restrictions and outbreaks across our galleries,  or grinding through the boom and bust cycles of Crypto these past few years, the friction of confronting these challenges and then working as a team to adjust and prepare for the next IRL experience was formative for our culture, community and ultimately is what the Bright Moments brand stands for.

Generative art played a significant role in Bright Moments. How did this artistic approach influence the live minting experience?

We were fortunate to stumble onto the world of generative art, because our first show we exhibited was Jeff Davis Portals, which were 9 works of art that he generated on ArtBlocks and then auctioned on OpenSea.

Jeff advised us to mint our Citizens on ArtBlocks, and so we had a call that summer with Phil (Mohun, of Bright Moments), Jeff and Snowfro to talk through how we might mint these pixel portraits on-chain and yet require that the collector is there in person.

Bright Moments took place around the world. What were some of the unique cultural exchanges or insights gained from this global approach?

The transitions from one culture to another were incredible.  Going from NFT NY in the fall of 2021, after our Incomplete Control show with Tyler Hobbs, to Berlin a few months later was a real level up in terms of the scale of our production.

We went from a traditional white wall classic SoHo gallery to a 80k sf former power plant in east berlin.  Similarly, from London to Mexico City, or from Tokyo to Buenos Aires, these are extreme zigs and zags in terms of vibe, food, nightlife, but all equally vital in terms of their roles as cultural capitals around the world.

Throughout the 3 years of Bright Moments, what have you learned about yourself as a founder and as an individual?

I have learned that tokens can be powerful narrative objects that can coordinate, govern, and guide a community around the world to create and collect art.  But some stories are better, and bigger, and more durable and memorable than others.  They need to be simple, without being simplistic.  They need to have struggle and success woven together to the core.  They need to be filled with interesting personalities, and brilliant talent, that can communicate naturally across online and real life environments.  They need to have a clear beginning, middle and end.

It’s not a new lesson, but something that emerges again and again, which is how having clear, public constraints can drive a certain kind of creative abundance.  Twitter had 140 characters.  And so with us, we saw that there were 10,000 CryptoPunks, and it was taking us something like 15 minutes to mint each CryptoVenetian in Venice Beach in July 2021, and we were like, “hmm, I bet we could go around the world and mint 10,000 CryptoCitizens in 10 different cities in about three years.”  And so that’s what we did.  .

Could you highlight any collaborations with artists or creators that were particularly impactful for the event series?

The extreme travel experiences may have been the most impactful.  With Metropolis by Mpkoz, we went from NY to Berlin to London to Mexico City to Los Angeles over the course of 10 days in March in 2023.  It was our first collaboration with ArtBlocks and we really wanted to emphasize the URL to IRL live minting transitions that are the cornerstone of our brand.

And so we came up with this idea to mint 500 online and have them randomly distributed across 5 different city traits.  And then collectors could mint a free second NFT that formed a diptych with the first.  In the end, 440 of the 500 potential diptychs were formed.  Michael, Dole, Tyler and I did the full circuit of cities, hosting a different collector dinner in each one as we went.  The feeling of the community following us and greeting us in each city was special.

I treasure my gallery of two full sets of 5-city Metropolis diptychs.

The other experience that really pushed the limits of travel was Hashmarks with Deafbeef in Patagonia.  We timed it as an extension of our Bright Moments Buenos Aires experience, and so 75 artists and collectors took a three hour flight from BA to Calafate for two days to meet the artist by a giant rock in the middle of nowhere and collect a forged steel object.  The object had a secret key inscribed on it that enabled you to claim a token when you got back to civilization.  It sounds ridiculous even typing these words, but it was another extremely powerful artistic social experience that a small group of people got to enjoy in a magical, remote location that forever burned the memory onto the token.  The following video does a good job telling the story.

With the series concluded, what’s next for Bright Moments? Are there plans to expand, evolve, or create something new  in the  space?

Yes, we have exciting things coming up... starting with this auction with Christie's. Keep an eye on our socials for updates!

Thank you for your time Seth.

Gallery: https://gallery.so/sethnfts

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You can follow Gallery on X (Twitter), Warpcast, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

Roope Rainisto, a Finnish artist and former designer, intentionally evokes a sense of unease through his work. His images often blend the absurd, the deeply personal, and the strikingly surreal.

His transition into AI photography is quite unique, positioning him as a prominent figure in the NFT and AI art communities. His collection ‘LIFE IN WEST AMERICA’ has garnered attention, becoming an essential addition to the evolving art history. This series critically examines the concept of the American West, challenging viewers’ PRRs (innate pattern recognition) abilities. Scenes evoke déjà vu while offering fresh perspectives.

Rainisto fearlessly explores the tool’s capabilities and inherent flaws. Rather than hiding imperfections, he leverages them to create innovative and evocative pieces. For him, AI isn’t just an implement; it’s a creative partner that amplifies his vision.

We recently reached out to him to gain insights into his process, and to get some details about his latest series, ‘Vacation’.

Reflecting on your initial foray into design and your subsequent 25-year career in the creative field, could you describe the journey that led you from design to photography, and eventually to integrating tech and AI with art in your current practice?

Photography - arts in general - has been a part of my life ever since I’ve been a teenager, but for a long time it was a relief - working in a professional/corporate setting, leading design, “solving problems for others”, arts was something I could do for myself. No need to ask for review comments or try to fulfill requirements given by others.

I’ve always been fascinated by the potential that new technology can bring in terms of increasing personal creativity. As soon as generative AI methods became accessible to a relatively layman, I had the fortunate chance to be able to dive into this topic full-time.

What motivated you to incorporate Web3 and onchain components into your work?

Funnily enough, the final spark came after someone impersonated me. I hadn’t set up any Web3 profiles myself, so it was easy for someone else to take my art, create a profile called “Roope Rainisto” and start to sell the art to collectors. After the second time this happened, I thought that I should make it harder by at least creating “the official account” myself.

Having created one, I then had the reason to get started. Web3 space - despite it’s many flaws - offers a chance for any motivated artist from anywhere in the world to make it. Take me for instance. I haven’t been able to formulate to myself how I could have done what I have done now under the traditional artworld / “web2 rules”.

Your creations are quite unique, especially within the NFT space. Could you share what drives your exploratory spirit?

In a very broad sense, I think one can use AI in two ways: either to replicate the form of existing art, or then to create something that exists only because of AI. There is nothing wrong with replication. For instance if you use AI to create music, you probably want to create something “that doesn’t sound weird”... That doesn’t sound like it’s made with AI. That is all fine and good.

My personal interests though always lie much in exploring the new in whatever it might be. Each artform has its unique characteristics. A painting is made out of brushstrokes. They bring it its own character. A painting doesn’t become better if you Photoshop all the brushstrokes away.

Merging technical skill with intuitive insight is no small feat. In your process, how do these aspects interplay?

Many AI tools are now at a level where instead of technical skill you need time, patience and curiosity. It is not so much about getting something to run in the first place, but to try to grasp the myriad of settings and their effects on creation. Documentation ranges often between poor and non-existent.

'LIFE IN WEST AMERICA,' a collection you created in 2023, was such a success. How do you see your body of work evolving from that experience, particularly with your latest project 'Vacation'?

There’s two main developments: technical skill and artistic understanding. Technically one of course learns more the more one does something. Personally I think the larger evolution comes from increased awareness of art and artistic expression itself: what is art anyway? What is good art? What makes it good?

“Vacation” in my mind is slightly less an exploration of the technical medium of AI art and more an attempt to use it to create art, just like I use any other tools to create art. While still preserving and curating the work so that “the AI is present” in each piece.

The narrative of this series obviously carries a unique emotional imprint. How did this influence its development?

Emotions are indeed a critical part of Vacation - it comes down to my understanding of art in general: art is something the artist creates to transfer and evoke emotions in the audience. So for me - when asking about whether some piece is complete, or whether some piece gets curated in or not, its emotional power is the ultimate and final check.

I create tons and tons of art that technically looks beautiful, and fulfill other criteria, but if they don’t make me feel strongly - if they don’t tell a story that I think about - they’re not getting in. Vice versa, a piece can technically have many flaws, but if it works emotionally, that is enough for me.

How does your process of curating AI-generated outputs influence your selection and editing decisions?

I try to treat it similarly to how to curate photography. I’m using Adobe Lightroom, and basically the same processes I’ve been using for a long time now. In terms of editing, I try to minimize unnecessary edits, to preserve the imperfections of generative AI as long as they don’t detract from how you would read the image. I realize the reasons why one wants to avoid unnecessary edits in photos are completely different from the reasons here (in terms of maintaining a link to reality), but nonetheless.

Vacation' doesn't shy away from its digital roots, highlighting the artificiality of the medium. How do you see this affecting perceptions of authenticity in digital art?

I think each artform has its natural fingerprint. A painting looks like a painting because of the brushstrokes of the brush.

A painting doesn’t become better if one Photoshops the brushstrokes away. In my mind, if there are unique visual elements of generative AI right now, I want to preserve them. I hope it gives the artworks their unique flavor. It is moderately likely that as generative AI improves in the future, these “glitches” (as some people call it) will go away, but I’m not sure that is necessarily a positive thing for it as an artform.

Modern digital cameras are flawless, but many people still like to shoot with older cameras, using vintage lenses and vintage films, doing many steps to skew the outputs to be “less perfect” in photos. Art isn’t about realism! Likely something similar we will see in the future with AI art.

Given that photography is often equated with reality, how does the digital dimension of your work invite viewers to question this assumption? Are you comfortable with the term 'post-truth photography'?

“Post-photography” - a term some love, some others love to hate - isn’t a technique but it’s exactly an examination about what happens when photographs can no longer be trusted as being primary capture of reality, but that they’re just images. It’s the digital image deluge, and we will take part in that. The role of an artist moves from being a producer to being a giver of meaning.

I’ve always been critical of “truth” in relation to traditional photography - often the truth is severely perverted there already, and people have been far too gullible or accepting of photographs. If and when generative AI creates additional levels of critical thinking into all of us when seeing all imagery, this is not necessarily a bad thing.

Looking ahead, can you give us a glimpse into how you plan to integrate ‘real-world’ elements with digital components in your future projects?

I’m very much excited about this potential - I’m working on various explorations where a project starts from my traditional photography, and then by using generative AI I “extend the photoshoot”. Once I’m one day able to create images that seem to come from the original photoshoot itself, and presenting these images side to side, then it’ll certainly be (hopefully!) an interesting exercise to examine truth.

In general, nowadays people talk a lot about art being normal (“0% AI”) or AI-generated (“100% AI”). The fact of the matter will be that soon enough many people will create something that is 5% AI or 20% AI or 50% AI - generative methods get integrated into apps like Photoshop. In that case, in the long run, the distinctions between what is AI art and what is not will slowly start to blur away. As the generative methods become more accepted as new artistic tools. But this will take a while.

Thanks for your time Roope.

You can follow Gallery on X (Twitter), Warpcast, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

Japanese multimedia artist Emi Kusano has been making headlines over the past few months, frequently being spotted on the old continent to showcase her work. Her signature style is quite effective: AI combined with retrofuturistic and nostalgic vibes, with a well-balanced flavor of Japanese pop culture and aesthetics. This distinctive approach results in unique and compelling narratives for each of her series.

Beyond the visual aspect, Kusano's skills in integrating tech with both traditional and contemporary Japanese elements also create captivating and thought-provoking experiences for viewers, evoking and tackling profound themes and emotions. Her artworks have been prominently featured, including on the cover of WWD Japan (the very first AI-generated cover for a fashion media in Japan), in prestigious auctions such as Christie's and Gucci, and in exhibitions at venues such as the Saatchi Gallery in London, the 21st Century Museum of Contemporary Art in Kanazawa, and the Museum of Contemporary Art in Tokyo. Additionally, she has minted out NFT collections with Bright Moments and Art Blocks Curated, and actively engages with art communities around the world.

Today, she released “The Altar of Bonnō,” a generative art series curated by TENDER, on Verse. The 25 new artworks capture the essence of bonnō (earthly desires) through a mix of Japanese otaku culture, Western pop art, and Buddhist philosophy, exploring the perpetual tug-of-war between materialistic allure and spiritual equilibrium.

We reached out to her to get some insights into her latest series as she has just returned from Europe.

Emi, could you explain the origins of “The Altar of Bonnō” series and how it resonates with the themes of your previous collections?

“The Altar of Bonnō” is inspired by the “altar making” seen in Japanese otaku culture, where fans display their favorite characters and items like religious altars. This passion and obsession deeply resonated with me. Since I started exploring AI, the altar motif has frequently appeared in my work. In today’s world, where information drives consumption, the obsession with material objects evokes nostalgia.This series blends this yearning for yesteryear with contemporary desires, creating a singular world where the past and present intersect.

In what ways do this new series reflect the amalgamation of Japanese culture, Western influence, and Buddhist traditions?

This series is influenced by 20th-century modern art, particularly Andy Warhol’s pop art and its consumer culture motifs like Campbell’s soup cans. These works depict contemporary consumer culture and human desires. Their essence is reflected in my series.

Additionally, the chaotic streets of Tokyo, filled with neon signs, advertisements, and products, exemplify relentless consumerism and desire, forming the core of this series. Although the setting is Japan, the series portrays humans living amidst consumption and desire, both ancient and modern, from East and West. With a backdrop of Japanese culture and Buddhist teachings, the whole story explores universal human themes.

How does your AI-assisted interpretation of Bonnō challenge or enhance traditional artistic expressions of desire and spirituality?

Using AI allows for unprecedented visual expressions, incorporating elements like fast food and digital devices that represent modern consumer culture. These elements refresh traditional expressions of desire and spirituality, offering new interpretations. AI processes vast amounts of data and generates complex, multi-layered images. It clearly illustrates the conflict between material desires and spiritual harmony, prompting viewers to gain new insights.

Can you identify specific elements within the artworks that symbolize the ‘material defilements’ mentioned, and how do they relate to contemporary life?

Examples include fast food packaging, smartphones, and brand logos. These are everyday objects in contemporary life, illustrating how deeply rooted bonnō are in our daily. They visually represent the inescapable material desires in the digital age and how they complicate the pursuit of serenity.

How does the series use symbolism to explore the conflict between worldly ambitions and the search for spiritual balance?

Material desires and the pursuit of harmony often intersect in our lives. By arranging items in an altar-like fashion, the series illustrates how individuals seek spiritual satisfaction through material possessions. This symbolism highlights the relationship where these two elements coexist and influence each other.

What role does the density and complexity of the images play in conveying the message of the series?

The dense and complex compositions represent the endless cycle of bonnō, emphasizing their pervasive and persistent nature. It embodies the overwhelming flood of data and material desires in today’s society, visually conveying the challenges they pose to achieving spiritual harmony. Immersing viewers in the details helps them experience the multifaceted meanings of bonnō.

How did “The Altar of Bonnō” series find its way to Verse x Tender, and why does releasing it on the blockchain make sense?

This project emerged naturally through conversations with Tender. Initially, I wanted to develop a completely different concept, but this idea suddenly surfaced and led to a dramatic shift in direction. Releasing the project on the blockchain ensures the uniqueness and transparency of the artwork. Blockchain technology clarifies the originality and ownership of the art, enhancing trust for collectors. The transparency and permanence of blockchain align with Buddhist teachings and the series’ themes.

Lastly, could you share how your personal relationship with Buddhism has influenced your creative process and this series in particular?

Buddhist teachings have deeply influenced my creative process, but AI’s emergence significantly changed my perspective. AI is devoid of bonnō. Witnessing this, I partially gave up the pursuit of enlightenment. The calmness and efficiency of AI are indeed attractive, but it lacks the human essence.

Conversely, our strength as humans lies in being steeped in bonnō. Desires, attachments, jealousy, and joy are sources of human creativity and passion. These are aspects AI cannot replicate, embodying the richness unique to humanity. In “The Altar of Bonnō” series, I use AI to explore these earthly desires in a new form.

Through this series, I hope to celebrate the beauty and complexity of human desires, offering a glimpse into contemporary spiritual exploration. My personal relationship with Buddhism continues to be a deep source of insight and inspiration in my creative endeavors.

Thanks for your time Emi.

You can follow Gallery on X (Twitter), Warpcast, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

In the tiny digital art community, only a few artists have managed to understand the complex relationship between tech, web, and creativity as adeptly as Maya Man. With a solid academic background (computer science + media studies), her practice offers a unique perspective on the digital and web zeitgeist. From early experiments using basic pre-installed software, to deep explorations of (post)identity and femininity in the internet age, Maya’s works highlight the transformative power of code as an artistic medium.

Her projects like ‘Glance Back’ and ‘FAKE IT TILL YOU MAKE IT’ serve as both art and conversation pieces, prompting viewers to consider the performative nature of self and the authenticity of online identities. Her exhibitions have been featured globally, including venues like bitforms in NYC, SOOT in Tokyo, Vellum in Los Angeles, Power Station of Art in Shanghai, and Feral File online.

Maya’s work has also been recognized in publications such as Art in America, DAZED, Forbes, Zora Zine, and others, highlighting her contributions to contemporary identity culture on the internet.

We recently had a chat with her.

Reflecting on the genesis of your artistic journey, could you describe your earliest encounters with art and the internet? How did these initial experiences ignite your passion and begin to shape your artistic path? We would also like to know more about your academic background here.

Growing up, I used to spend hours on my parents’ desktop Mac in the kitchen making music videos on iMovie and taking photos on PhotoBooth using the crazy filters that came preloaded with the software. I also spent a lot of time on YouTube, watching videos other people uploaded. The online culture at that time felt very amateur and participatory. I wanted to be part of that universe on screen, contributing to a world outside of my suburban Pennsylvania town. I’ve always seen the computer as an artistic medium, but when I was younger I did not realize that meant I could be an Artist.

I went on to study Computer Science and Media Studies in college. They were two totally separate departments but studying both in parallel heavily informed my practice. In my Computer Science classes, we were learning about algorithms, programming languages, manipulating bits and bytes. In my Media Studies classes, we were reading and writing about technology and its societal effects. I always wished and believed that there should be more crossover between the two disciplines because they feel so intertwined in my heart.

As you choose tech as your main creative tool, what were the challenges and triumphs you encountered in mixing code & art? Can you share a defining project or moment that characterizes this shift for you? For example, ‘Glance Back’ appears to be a significant marker of this transition. Right?

Early on in my career, I grappled with always wanting my projects to appear overtly technically “impressive” so like an engineer guy would look at it and be like “wow she really can code!” Which obviously came from a constant battling of insecurity that nobody looks at me and thinks that usually. But eventually, slowly, I started to release myself of that desire and started to make work that spoke to my personal obsessions which have always been surrounding ideas of performance of self, femininity, and concepts of authenticity online.

‘Glance Back‘ is the first work I made that I felt successfully captured my conceptual interests through code as a medium. It remains an extremely special project to me today because so many people around the world continue to engage with it every day. The software runs on their computers and it is meaningful to them because it captures their life. It’s not really a work about me at all and that still feels really beautiful to me.

Your work offers a deep commentary on URL social interaction. Could you elaborate on a piece that particularly embodies this exploration, and how you balance critique with participation in the very culture you examine?

In my piece ‘FAKE IT TILL YOU MAKE IT‘, I wanted to capture the absurdity of the ways that beliefs about “how a person should be” circulate online today. I started working on the collection with a heavy sense of criticality around this genre of Instagram graphics that promote “self care” and “wellness” with posts that feature pastel color palettes and bubbly type. It felt pseudo-religious and dystopian to me that people online craved meaning and guidance in their life so strongly, yet found it by passively consuming these graphics on Instagram. But at the same time, as I worked on the project, these graphics and their phrases also became very profound to me. So often, I would read an output generated by my FITYMI algorithm and think wow that deeply resonates.

I make work about these aspects of culture because I very much feel that I exist inside of them. And I feel complicated about existing in that way. Can you enjoy something and hate it at the same time? I definitely can and I do, but it’s confusing and that’s why I make the work that I do. It feels like turning myself and my relationship to culture inside out.

In your broader research of “the act of being online”, themes of identity and femininity are prominent. How do these concepts manifest in your recent works (i.e. ‘FAKE IT TILL YOU MAKE IT‘), and what conversations do you aim to provoke among your audience?

I have previously described my practice as a hack to get people to talk about what I want to talk about. I am very conceptually driven and with each work I make I hope I can direct people’s attention toward what I find most fascinating and complicated about living online right now. We are living in a time where the internet is like air. It is nothing and everything and it is shaping us constantly. It is the most interesting part of being alive right now to me. Sometimes I think… why doesn’t everyone want to talk about this all the time!!! I always hope that my work encourages people to reflect on the impact that their cycle of consumption and production of media has on their sense of self.

Regarding your audience, it seems that your art has been appreciated outside of the US. Having exhibited your art across various continents, how do you navigate the nuances of international audiences and culture? Is there a specific exhibition that stands out in terms of audience interaction or impact? For example, your exhibition in Tokyo might have been received differently due to the local online culture, trends in selfies, and self-representation.

I very much situate myself and my work as coming from an American suburban perspective. I love showing work internationally because I am curious about the delta between internet culture from my perspective and internet culture as it circulates within another digital ecosystem rooted in a different part of the world.

A challenge for my 2022 solo exhibition ‘Secrets from a girl‘ in Tokyo with SOOT included showing my work that relied heavily on nuanced language in order to understand its critical perspective. I worried that without being able to access the language in the work, visually, the pieces appear more celebratory of the culture I’m inspecting rather than analytical. For that show, it was extremely useful to work with the curator Hiroko Maruyama who helped me translate my statement and explanations of the work into Japanese to make it more accessible.

I also intentionally made a version of the show poster that mimicked the design language of Japanese teen magazines. Previously, I made a poster in the style of US-based Seventeen Magazine.

Now, we would like to know a bit more about your take on the NFTs space. As you have been involved in the space with drops on the most prominent curated platforms and initiatives like Art Blocks, Feral File, and Bright Moments, what insights have you gained, and how do you envision these tech, and the new internet, influencing your future projects and the landscape of digital art?

I truly believe in the inherent value of digital objects and it’s been so exciting to see all of the energy surrounding excitement about digital art that NFTs have encouraged. I have loved releasing collections that allow for the overt role of randomness through code as well as a higher edition size so more collectors can participate. It’s also exciting to me that NFTs have introduced a method of circulating artwork that is digitally native, but can also be morphed and translated to physical space in a variety of forms.

At the same time, I feel complicated about the culture around self-promotion and pace of production that NFTs have induced for digital artists. I write about this extensively in my recent piece for Outland, ‘The Artist is Online.‘ I’m concerned about the centralization of self that this “distributed” new model encourages. Looking ahead, I am thinking about how to push against that in my own practice and in the way I participate in my beloved digital art scenes.

Turning our attention to the present, what projects are you currently working on, and how does it/they continue your dialogue with themes of tech, identity, and online performance?

I’m currently very excited about hanging out in the physical realm!!! This summer, I’m thinking about how I can curate events, shows, screenings, and other chill happenings in person with friends in New York City. I’m burnt out on being online all the time even though I love it and will make work about it forever. We need to also hang out and have ambient time where we are together but not conjuring content.

Let’s conclude. As we look to tomorrow and beyond, what are your aspirations for the trajectory of your art? How do you hope to influence the evolution of digital art and the broader narrative of internet culture?

I want to keep talking about the internet within the context of contemporary art. The internet is driving culture right now and contemporary art should reflect contemporary experience. For a long time, digital and internet art has operated on the fringes. What if we really look at it? That’s how I feel about so much of what I see online. What if I don’t passively look at it, but really look at it? I want more people to feel that way about digital art. Let’s look at it for an uncomfortably long time together.

Thanks Maya!

You can follow Gallery on X (Twitter), Warpcast, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

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Twitter: https://twitter.com/maya

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**Get your free mint of 0xen’s After Arcs collection via the Gallery mobile app, or mint it for 0.006 eth on Highlight.

Last week, we teamed up with artist 0xen and Highlight on a new series of artworks titled After Arcs (anagram of Farcaster). The collaboration’s unveiling at FarCon 2024 was a deliberate curatorial choice by the Gallery team, marking a momentous occasion in the digital art community, as well as reflecting 0xen’s connection to the Farcaster ecosystem. The series serves as a continuation of the artist's ongoing exploration of Farcaster arcs, solidifying his active role within the crypto art landscape.

0xen is a self-taught, anonymous artist whose artistic journey has been molded by a diverse range of experiences, from working with art institutions to creating art while balancing other jobs. His work at a major museum was crucial in his informal art education, where he absorbed influences from world-class art through a process akin to osmosis. With a broad appreciation for various visual art genres, 0xen’s work traverses the spectrum from conceptual to outsider art, and from baroque maximalism to austere minimalism. This exposure, coupled with his enigmatic persona, adds a layer of intrigue to his narrative, as much about his background remains shrouded in mystery.

In the digital art and Web3 space, 0xen has carved out a distinctive identity with his NFT collections, including FarCats and Castaways. Both have garnered significant attention within the Farcaster community. His FarCats collection is notable for being the first AI-generated animal mascot collection, setting a precedent in the space. Meanwhile, Castaways has risen to become a coveted symbol among early adopters of Farcaster, reflecting a deep connection with the platform’s culture. These artworks are acclaimed for their exploration of genre and composition at scale but also for pioneering new forms of artistic expression and distribution on decentralized platforms.

We reached out to the artist and asked a few questions.

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Hi 0xen. Could you describe the moment or experience that captivated your interest in the NFT and Web3 space, and detail your very first encounter with Gallery?

Early on, I noticed that many successful NFT artists already had substantial Twitter followings before the NFT boom, which explains a lot about why the NFT world is as it is. Most visual artists had previously overlooked Twitter in favor of platforms better suited for images, such as Instagram. Because of that, the NFT space felt like an alternate dimension—ahistorical and detached. Who were these people? Why were they selling so many seemingly low-effort works? Posters rebranded as artists. Marketers cosplaying as creative directors. Embarrassing PFPs were being hailed as the next Picassos. AI-generated creations were lauded as 'masterpieces.' Platforms like Gallery, Art Blocks, fx(hash), etc., became havens for the weary aesthete amidst the chaos.

As an artist who has been building his reputation and following through Farcaster, could you explain the significance of launching this series during FarCon?

It has been quite enjoyable observing Farcaster's growth and transformation over the past few years. I had the opportunity to create the artwork for last year's FarCon, which felt more like a casual gathering. Therefore, collaborating on a special collection with Gallery feels like a natural next step in this progression.

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Your exploration of the arc shape in your Castaways series for instance has garnered significant recognition within the space. How have you integrated or evolved this shape in After Arcs?

That's simply the Farcaster logo. Before Castaways, there had been very little exploration of that image as the memetic essence of Farcaster. I aimed to create a collection that solidified its role as such. It’s a strong shape and has a lot of potential as a memetic germ, I think we’re just beginning to see all the ways it can be remixed and reimagined. Hopefully collections like After Arcs stretch where it can go even further.

Regarding the mimetic aspect of this series, can you elaborate on how it reflects or imitates cultural or artistic elements?

The arch motif serves as the central meme of the collection. Additionally, there's a fantastical, futuristic angle that I'm exploring, which I've dubbed 'dusk punk.' Farcaster feels both futuristic and organic and that’s something I tried to capture here.

Thank you for these explanations. Now, concerning Gallery, which aspects do you find most beneficial for enhancing your artistic expression and deepening connections with your audience?

When I first started creating in this space, I was searching for a gallery platform similar to Instagram or Web2, something different from OpenSea, which didn't meet my needs for various reasons. I was surprised to find that nothing quite matched what I was looking for. I was drawn to Gallery’s let-the-art-do-the-talking aesthetics, and when the 'created' feature was introduced, it was a significant breakthrough. Finally, I found a place where artists can effectively showcase their work.

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Are there any features that you believe could be helpful, missing, or have the potential to be game-changers for Gallery? In your case, for example.

Creation comes to mind. If I could create and showcase all in one spot that’d be the dream.

Last question before we sign off. Are there any approaches, narratives, or sources of inspiration you’re excited to look into for your future projects? How do you foresee your art evolving in response to the ever evolving tech, digital, and Web3 platforms?

Typically, I don't know what my next project will be once one wraps up. I find myself starting from square one each time. However, a trip to a museum or a long walk often sparks new ideas and gets the creative wheels turning. I also enjoy experimenting with AI and pushing its boundaries. It's essential to challenge AI to go beyond its typical outputs; otherwise, it's just more noise in the mix.

Thanks for your time!

You can follow Gallery on X (Twitter), Warpcast, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

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Twitter: https://twitter.com/0xen1

Farcaster: https://warpcast.com/0xen

Gallery: https://gallery.so/Oxen

About a month ago, Christie’s, the renowned auction house, teamed up with artist Robert Alice to unveil the generative art collection, SOURCE [On NFTs]. This series of artworks minted on March 12, represents a pioneering foray into on-chain art within the traditional auction house framework.

This collaborative effort stands out for its collection of 400 unique works, each crafted entirely from text using Natural Language Processing (NLP) algorithms. SOURCE [On NFTs] is intimately connected to Alice and TASCHEN's seminal publication, On NFTs, serving as its endpapers and conceptually linked to its content.

The series explores the complexity of history by bringing together language (which could directly or indirectly include research domains such as linguistics, psycholinguistics, computational linguistics, and language acquisition) and contemporary themes from politics, art, and technology. It encapsulates the cultural context of NFTs' origins and adds an important chapter to the ongoing narrative of digital art within the crypto space. From a visual perspective, SOURCE [On NFTs] transitions between order and chaos, highlighting the text-based essence of NFTs.

This drop marked the US launch of On NFTs and because of its thoughtful narrative, it's not a huge surprise that it generated a wave of enthusiasm and reflection within the art community, collectors, media outlets, and enthusiasts alike. “Both Artnet and the Art Newspaper wrote thorough and thoughtful articles about the project; they both took a good amount of time to understand it,” Sebastian Sanchez, manager of the digital art sales at Christie’s, tells us. “Between the On NFTs book published by TASCHEN and the SOURCE [On NFTs] project released by Christie’s, this initiative by Robert Alice and Christie’s made a big splash on both traditional and digital art worlds.”

Given its artistic approach, robust composition, and compelling storytelling, the series carries significant implications for the future direction of art auctions and the broader landscape of the market.“It is a collection that is deeply rooted in history and research, and I think that projects like this are important for the future of digital art,” he explains. “Whereas oftentimes digital art collections don’t have strong roots in what came before them, SOURCE [On NFTs] is all about history.” Indeed, as one delves into the project, it becomes clear that it encompasses the young yet complex background of NFTs. This history is an intricate composite of art, surveillance, privacy, publishing, and crypto, among other elements. Together, these aspects create a new and unique narrative in the art timeline.

The collection and its accompanying book, On NFTs work together to deepen our understanding of the evolving landscape of digital art. As artworks and academic research come together, On NFTs is a symbol of the interconnectedness between creativity and intellectual inquiry.

Highlighted pieces from the collection, including the hardcover edition of On NFTs personally signed by Robert Alice himself, are shining for their rarity and importance. Moreover, Christie's adoption of a 'Dutch auction' model also makes this collection more accessible, encouraging collectors to explore digital art in fresh and exciting ways. “This auction model made a lot of sense when thinking about bringing a volume-based generative art project to Christie’s,” Sebastian explains. “For a primary artwork of this type, Dutch Auctions help find fair market price. Bidding on 125 individual pieces from the same collection wouldn’t make much sense given that at the point of purchase collectors find out what their work looks like.”

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One month on, the impact of this collaboration still reverberates throughout the art world. As the project continues to be spoken about (the proof is just here), it invites us to ponder the synergy between tech, culture, text, art, and the market. Looking ahead, we can expect the digital art landscape to evolve significantly in the coming years, especially with the integration of blockchain technology and NFTs into traditional auction platforms like Christie’s. “Our Digital Art team at Christie’s is actively working on bridging the gap between digital and traditional art. This includes placing digital artworks in our live and online sales and to contextualize digital art alongside art masters like Picasso and Warhol.” He said, adding that AI will have a huge impact on the traditional art world, probably even more than blockchain technology.

Sebastian concludes by mentioning that Christie's is continually seeking innovative approaches to enhance and evolve their platform for Christie’s 3.0.“Nothing we can confirm at the moment but we have a few things on our radar.”

Head to the project website to learn more about SOURCE [On NFTs], or explore the whole collection here.

You can follow us on X (Twitter), Farcaster, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

**Discover Aux Arbres through the eyes of its holders with their submitted entries of favorite pieces, now featured in Zancan's gallery.

French artist Zancan has always been captivated by the density, patterns, and organic life found in nature, particularly in plants and trees. This fascination has recently culminated in Aux Arbres, not only the largest generative art collection of the artist, but also the biggest ever seen in the NFT space thus far. With a background in both oil painting and programming since the ‘90s, Zancan's journey reflects a mix of traditional art and tech. This approach has propelled him to the forefront of the NFT art scene, positioning him as a pioneer in exploring the crossroads of art, tech, and environmental consciousness.

Aux Arbres features an impressive 76,208 artworks collection spread across 43,682 unique wallets, that was successfully released in collaboration with Highlight, Coinbase, and Bright Moments. This initiative is significant in the space and represents the artist's A1 creativity. It also underscores a broader trend where established artists embrace larger collections, signaling a drive to create new collective narratives around their art.

When asked about the inspiration and creative process behind this series, Zancan shares that "Knowing the collection was going to be large, it needed a system to provide significant variety while not compromising its consistency. I think the composition is the most difficult to get right in the context of randomly generated outputs. I have been drawing trees, or programming tree structures, since my childhood, they never failed me in the endless graphical possibilities they offer. In Aux Arbres, each piece is a small frame pointing at a random point on a branch.This way, there's always something in view, something that looks abstract, but is actually very structured due to the algorithmic nature of a tree's growth. The trees really serve as a backbone for the entire collection.” This process shows the connection between Zancan's artistic vision and the natural world, highlighting the complexity and organic flow evident in each of the digitally grown trees.

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At the core of Aux Arbres lies a unique grouping algorithm that organizes outputs onto tree structures. This approach ensures that each generated artwork integrates into its designated spot on a specific tree. While individual pieces may appear abstract when viewed alone, they take on a figurative quality when placed among their neighboring tokens on their respective trees. The diversity within its random designs is just beautiful and reminds of nature's variability. It's akin to exploring a forest where every tree tells its own story, adding to the richness and depth of the overall narrative. Zancan further explains that "trees are part of the universal landscape, so much that we don’t really look at them. They are rather providers of sensations. For me, they evoke feelings of reassurance, appeasement, and continuity too. I should point out that I spent my childhood perched in the oak trees! At least that's how I remember it. I can't help but personify their presence and perceive them as benevolent creatures, but also beings capable of suffering. So much symbolism can be attached to them in fact.”

From a generative art point of view, trees are indeed perfect subjects of study because they encapsulate the essence of complexity emerging from simple rules. “They are both precisely structured (according to the laws of growth inherent to their species) and infinitely varied depending on their environment or the events they go through, but also their DNA ( their seed ). These attributes mirror the component of the algorithm and that of randomness that we use in generative art,”  he adds.

The project has also a profound collaborative spirit that captures the essence of community. It transcends individual artworks, cultivating a collective journey and dialogue. Each collector is a meta-gardener, shaping the forest together. “It was amazing to see the open edition grow to such an incredible size, or watch the collectors share their outputs and discuss the various traits,” he tells. “Some of those discussions even inspired me to update the code and provide the collectors with new background variations (such as the Sakura theme), or new color schemes, while the minting window was still open. I think the most unexpected evolution, and the most discussed one, was the collaboration with artist Mark Knol, to introduce a rare 'Smolskull' trait - a tribute to his iconic series of cute generative skulls on the Tezos blockchain.” This certainly brought excitement, particularly given the secret nature of his active development and updates in the background. Yet, his inclusive approach surpasses traditional art creation, welcoming viewers, collectors, and all of us to participate in shaping the French artist’s on-chain forest.

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Aux Arbres not only expanded the horizons of community-driven Web3 ethos and generative art but also ignited discussions. It showcased nature's intricacies in the digital realm, bringing up conversations about sustainability and art innovation.

“There are a few ways to read the title, which translates to 'to the trees,'" he explains. "'Aux Arbres' in French sounds very much like this line from the French national anthem: 'Aux armes, citoyens!' (take up arms, citizens), which is a revolutionary line in the first place. That wordplay, 'Aux arbres, citoyens,' has been heard quite a few times in environmental activism.” However, he doesn’t want to be considered an activist, and prefers the title to be read as "dedicated to the trees," which is a much more candid approach.

"I was more ambitious and motivated in the environmental field a few years ago," he remembers. "The more you learn, the more you dig, the harder it gets. The environmental problem doesn't seem to have solutions beyond a global, total political consensus. Even with the best of intentions, it's so much bigger than any of us. The Russian war really put a toll on my optimism, I have to say. Instead of resigning completely, I switched to a more 'self-conscious' approach, which one can grasp in my artwork 'Landscape with Carbon Capture' (2022), which emphasizes the feeling of hypocrisy of being an artist who is claiming environmental consciousness while working with technology. That collection, which was sold in 11,402 editions of generative landscapes splattered with oil stains, participated in funding actual environmental actions—a $300,000 drop in the ocean.” Here, he facilitated a deeper understanding of the interconnectedness between art and nature within the crypto space, encouraging meaningful connections and talks.

As Aux Arbres continued to evolve during the minting period, each artwork was attached to a virtual tree (Arbre), gradually giving life to a digital forest. The project's impact extended far beyond the blockchain, with trees symbolizing both individual artistic expressions and collective environmental awareness. “I have to say, unlike what is commonly found in "longform" generative art, or in my previous works, ‘Aux Arbres’ was never meant to be over once it had been minted out.”

He then explains that the vast database of 76,208 tokens will serve as the raw material for shaping a new phase of the project. “I intend each tree (there are 963 of them) to become collectible as a unique artwork. I have a lot of innovative ideas, it’s crazy how endless the possibilities seem to be. For sure it will take time until this happens, but I really made sure that the initial collection contained everything that I needed to build that next phase.”

Head to the project website or on zancan’s website to browse the work-in-progress of a forest.

Gallery: https//gallery.so/zancan

X (Twitter):  http//twitter.com/zancan

Farcaster: https://warpcast.com/zancan

You can follow us on X (Twitter), Farcaster, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

We’re thrilled to share our conversation with Anton Dubrovin, also known as MCHX, discussing his latest collection, Radiance. We couldn't be more excited to mark Gallery's launch on the app store with this collaboration.

MCHX is a digital artist who breathes life into pixels and code. Born in Kazakhstan, Anton's journey into digital art has been unique. He has been exploring color and form for quite some time, using graphic programs, code, and AI. Inspired by 20th-century abstract artists, Anton finds motivation in the color-field movement, where color transcends visual elements to become a universal channel of emotion and exploration. His previous creations, including Cascade, Es, and Color Transitions, offer experiences through water-inspired art, color palettes, and emotive transitions. The results often exceed expectations.

His new creation, Radiance, stands as a testament to his innovative spirit and artistic vision. This generative art series merges dynamic gradients with circles, creating pieces minted through algorithms. This ensures that each work is truly one-of-a-kind. Inspired by the universal and varied expressions of creativity and self-expression found on the internet, Radiance is dedicated to the vibrant creative community in Web3. This community, known for its lively diversity, perpetual evolution, and passionate embrace of freedom and connection, serves as a cornerstone of the series' motivation—to unite creativity and foster love for all forms of online art.

Powered by Highlight, this collaboration not only showcases our new app's capabilities but also heralds a new era of collecting within the blockchain. Download the Gallery app now from the App Store to mint a free artwork from this exclusive collection. Alternatively, you can also mint on Highlight for 0.08 th.

Hi MCHX, could you share some insights about yourself, your background, and your inspiration? We'd love to learn more about your journey and what drives your creative process.

Hi, I'm Anton. Originally from Kazakhstan, I am currently based in Georgia. I have been creating art since 2016, with a particular focus on generative art in recent years.

My artistic inspiration draws from various sources including 20th-century abstraction, Abstract Expressionism, Color Field artists, nature, music, and the internet. I am also intrigued by contemporary life and visions of the future. Outside of art, I enjoy taking walks, reading, and watching Japanese anime and dramas in my free time.

What inspired your entry into the NFT and Web3 space, and how did you initially discover Gallery?

In 2020, I accumulated a variety of different works and was looking for a way to showcase them, meet new people, and earn a little money.

During that time, there was a lot of talk about NFTs, and there was also an app called newlife.io. That's where I discovered many digital artists and learned about Web3 concepts. I started seeking information and noticed that digital artists were finding their audience and selling their works for cryptocurrency, and digital art itself began to be perceived differently. People started to acknowledge it and realize its value. In early 2021, I started a Twitter account, and by the summer of the same year, I began minting my first works on Tezos and Ethereum.

I learned about 'Gallery' from Twitter, I think it was in 2022.

As an artist, what aspects of displaying your artworks on Gallery do you find most appealing or fulfilling in terms of enhancing your creative vision and connecting with your audience?

I like that Gallery is specifically designed for exhibiting digital art and NFTs, and that it's a part of the Web3 economy. I appreciate the clean, airy design of the app and platform, which puts the artwork in the spotlight.

What I love the most is that generative artworks are rendered within the application in real-time. This is fantastic and it is truly unique.

Could you share insights into your creative process, specifically in developing this collaborative project with Gallery on Highlight? What inspirations fuel Radiance and drive your artistic vision?

I particularly enjoy working with colors, creating various combinations, and exploring how they evolve over time. Through coding, I'm learning to control these transformations, and in doing so, I observe not only changes in my art but also within myself. Sometimes, it's the reverse—I aim to express my emotional states by transitioning colors on the screen.

For this project, I developed over 60 distinct color modes, which was an exhilarating experience. The central object in the composition plays a crucial role in connecting the viewer with the artwork. I chose a circle for its universal symbolism and ease of understanding. The circle represents integrity and unity; it appears to blend into surrounding colors yet maintains its distinct shape, symbolizing harmony with everything around it.

How do you approach translating abstract concepts such as the 'blueprint of our energetic state' into on-chain generative art? Could you walk us through the steps involved in bringing such a concept to life?

I believe that every time we interact with the blockchain, we are exchanging energy. When we set up a wallet, it is generated with random characters, which may initially seem insignificant. However, these characters become important to us; we value and cherish them. It becomes not only a conduit for resources but also for self-expression on the network, a conductor of our energy.

I have developed a theory that when I mint a generative artwork, there is an interaction between my energy and the artist's work, and the output somehow carries an imprint of myself—perhaps my emotional state or what I need at that moment. Such work brings true delight and joy; it's when the magic happens. However, for this to occur, the work needs to have enough variability, evoke emotions, and be as universal as possible.

But to be honest, when I work on a piece, I don't think about all of this; I simply try to express myself. Everything described above is more of my observations and how I perceive what's happening on the blockchain and on the internet in general.

Can you describe how collaborating with Gallery has influenced your artistic process and guided the development of this series?

For a while, this project existed on my computer as a sketch. When Gallery offered their collaboration idea, I immediately felt that this work was waiting for this moment, and everything suddenly made sense. I believe that this work would be a great gift for the application's users, as it embodies the lightness and universal beauty of love for digital art and creativity.

Given the imminent launch of the Gallery app on the app store, in what ways do you envision this project contributing to the platform's debut and engaging users effectively?

I hope this work will bring joy and inspiration to users of the platform. Additionally, newcomers to NFTs or blockchain will find something immediately shareable and engaging.

As Highlight is integrated directly into the Gallery mobile app, how has this mobile-focused strategy shaped your artistic workflow, from conceptualization through to final delivery?

Although I always strive to ensure my works are dimensionally responsive, this time I paid extra attention to optimizing for the mobile version, especially focusing on the square aspect ratio. Since users will primarily view it within the application in a square window, this aspect was crucial. It was also important to ensure that the work loads quickly, without any delays. The mobile user experience should be enjoyable and as seamless as possible.

Looking ahead, are there any innovative approaches or techniques you're excited to explore in your future projects, either within Gallery or beyond? How do you envision your works evolving in response to emerging technologies and platforms?

Nowadays, Web3 seems even more inspiring to me than when I first immersed myself in it. It's no longer just a dream or an idea; it's already a whole real-world offering numerous opportunities for exploration, development, creativity, communication, and collaboration.

However, it's also important to take the time to evaluate all the possibilities and changes around us. Platforms now offer a lot—opportunities to express oneself, meet and interact with people—and I'm very glad about that. But as an artist in Web3, my primary goal is to maintain independence, and I always keep that in mind.

Thanks for your time Anton!

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Twitter: @MCHX17

Farcaster: @mchx

Website: mchx.space

Gallery: https://gallery.so/mchx

You can follow us on X (Twitter), Instagram, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

We deeply love the internet at Gallery. While we've been into its cultural aspect since mIRC, ICQ, the Y2K era, and the subsequent years when Myspace was a thing, our passion extends far beyond to explore its endless creative potential. As the internet has evolved, so has our love for it, leading us to explore the possibilities of Web3 and the opportunities it offers for artists and users alike. We cheer on creators who dare to elevate web-based practices, challenge the medium, and engage in critical discourses. Among these trailblazers stands Elle, a net(work) artist who has long been an O.G. in the Gallery community, embodying thought-provoking narratives.

Elle’s on-chain creative journey began in 2021 when she started minting NFTs on the Fantom network. She combines her interest in alternative/niche, net-native currency and cypherpunk principles with her multiple creative skills. Her work, characterized by pixel art and a very specific color palette, reflects her thoughtful engagement with many of the web subculture facets.

In this chat, she shares about her background, her experiences on Gallery, and how such a move can emphasize the value of on-chain art. ⌒ ﾟ( -⩊- )ﾟ⌒

Hello Elle. Could you introduce your artistic practice, and elaborate on your journey into the Web3 and NFT space? Specifically, we would like to know how you became involved in creating NFTs, why Fantom network, and how this decision led to your ongoing exploration within the blockchain space?

My practice is very interdisciplinary. I hardly think of it as art sometimes, even though there is a large artistic component to it. I consider my projects research and learning about things through their utilization in the forms of visual media, music, writing, and the web.

I started making NFTs in 2021 on the Fantom network after getting bored of being a Bitcoin lurker for a few years. I got into Bitcoin because I was interested in alternative, net-native, P2P currency and Cypherpunk principles. But that part of crypto didn't really involve my other skill sets. When NFTs started becoming more of a thing, I saw that as an opportunity to teach myself new skills like reading/writing smart contracts in Solidity to do more interesting things than watch the numbers go up and down. Fantom, at the time, had a vibrant art community and the chain itself was EVM compatible while also being super fast and low cost so I decided to deploy my Riot Goools collection there for fun with no real expectations, as a learning experience. Things just kept going from there until present day where I'm still constantly learning, exploring, and making new things.

Thanks for these details. We are particularly interested in the aesthetic aspects that define your work, especially in projects like Riot Goools and VIP. Could you elaborate on the specific elements that distinguish these creations, and how they contribute to your overall visual signature?

The two main aesthetic constants in my work are pixel art (with a cute/kawaii anime style) and my color palette. Going back to Riot Goools, I created a specific color palette for it and all my work has used that palette ever since. There are occasions where I break my own conventions and introduce new colors or styles, like 3D animation, but I always try to make it consistent with the core aesthetic. Very Internet Person (VIP) is an offshoot of my Goools work and is created with pixels and the same palette. The form is a little different, being lower pixel count, transparent background, computer-style icons and there are a few new colors (some of those colors were already introduced through my other projects like Goools on XTZ in the 2 years between Riot Goools and VIP.) In my VIP music, I try to make audio that's analogous with my visual body of work, so a lot of the sounds are drawn from computers/internet, old video games, and genres of music that influence my work in general. From Riot Grrrl and punk to Citypop and K-pop and everything in between.

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Your artistic approach is driven by internet subcultures, network spirituality, and share some ideas with the Milady and Charlotte Fang’s ideology. Can you provide us with some insight into how these influences manifest in your work? Additionally, could you elaborate on how projects like Milady have shaped your perspective on the NFT space, particularly in contrast to more mainstream trends? Finally, how does VIP serve as a celebration of the internet's culture and history?

I became interested in Milady shortly after it launched because it felt quite different from other projects at the time. It took a long time for it to mint out but that didn't bother the people who were into the project. Miladys were more interested in building a unique net culture, with network spirituality, or, if not in such grandiose terms, a culture of just having fun on the internet. This was refreshing because, despite the Fantom art scene having an interesting art subculture, most people still seemed primarily interested in flipping things like the rest of the mainstream NFT world. Projects would be lauded for instant mint-outs and then forgotten and replaced by the next hyped project. Rinse and repeat. As I said before about Bitcoin chart watching, that's not so interesting to me and not the motivation for why I do my work. So I think alternative models like Milady showed me that the space wasn’t just the “market” and this kept me interested in working with this form. I like to believe on-chain technologies can be used for more than trading and that's why I'm exploring it in my own way. I do understand that financialization is an inseparable part of NFTs so I also do experiments with less conventional things such as NFT AMMs like Sudoswap to gain an understanding of the possibilities in that area of the space.

With Very Internet Person, which is derived from Milady – or a mashup of Milady and Goools – I wanted to channel the aspects that interested me in Milady, like Cypherpunk principles, the new internet, etc., and combine them with my own internet influences and ideas. I like studying internet culture and history, memes and life on the web. So VIP is kind of my love letter to the internet with its computer themed language and iconography. For example, there are references in the traits  to different meme eras from rage comics to wojaks. There are references to instances of the internet in popular media like the Serial Experiments Lain and Ghost in the Shell anime. All the things I make for VIP try to celebrate the aspects that make the internet a fun place to be and my hope is that, like how Milady influenced me to make something, VIP can influence other people to upload more fun things to the internet.

Could you now share your experience of exhibiting your work on Gallery, including how you discovered the platform and what drew you to it initially? Then, we'd love to hear about when you teamed-up with the platform last year. Could you explain the process behind this project, from conceptualization to execution, and shed light on your motivations?

I discovered Gallery when I first joined Farcaster. I felt a little out of place because I didn't do any work on Ethereum at the time (I didn't start deploying work on Ethereum until after the Merge.) But I was super interested in all the projects that I was seeing on the timeline – especially ones that displayed NFTs but didn't treat them as purely financial objects and were more interested in the art. Gallery was one of those. I think I was setting up my nf.td page one day and saw that I could get a proof for Gallery so I created a Gallery account. I made a simple gallery at first with some of my Tezos NFTs and then there were a bunch of upgrades and new features that kept rolling out and I really loved the direction things were going with the platform.

I was thrilled when Mikey asked me to do the holiday piece for Gallery! I wrote an article on Mirror about the making of that VIP piece. Basically I dropped everything I was doing in early December to make that work, which involved creating 3D assets in Blender, animating it, writing a song and recording it, and then putting it all together in the final video. I just wanted to make something that reflected the season and also the enjoyment I got out of using the platform.

From a creator's perspective, what aspects of showcasing your artwork on Gallery do you find most appealing or fulfilling?

The best part of Gallery is that, unlike sharing things on regular social media where every share can feel like a shill, Gallery feels more like you are sharing things to be appreciated for the art. Because meme coins and other "degen" activities happen on places like X, people have a default assumption that everything posted is for making money. As someone who invests a lot of time into making things I care about, that kind of feedback experience can feel quite hollow. Also, I think the reason why NFT art has a bad reputation among outside artists is because it gets mixed in with those kinds of activities and any actual talk about the art is drowned out by people yelling about charts. I love that Gallery brings the art to the forefront and feels like something I could share with non-crypto people.

How does your artistic practice benefit from using Gallery as a platform to showcase your work? In what ways does it help you strengthen the thematic and conceptual threads within your portfolio?

I think it's nice to have a place to present work outside of marketplaces. I suspect that most people going on Blur don't really look at art, they just hit the sweep button of whatever they think will moon tomorrow. Being able to present work in custom galleries helps strengthen the body of work because I can arrange things to connect the ideas I'm working with. For artists that have bodies of work that span over many collections/contracts, this is amazing. Collections are usually totally isolated from one another on marketplaces so people rarely see the conceptual and aesthetic connections that may exist. It's also nice to be able to create galleries of my collection of other people's work. I tend to collect as research as well so being able to arrange pieces I've collected like a moodboard and seeing them together is great for inspiration.

Could you tell us about the role and significance of the community within the platform, particularly in fostering a deeper appreciation for artistic expression? How does Gallery contribute to creating a space where artists feel valued and supported, and how does this sense of community impact the overall elevation of NFT art as a form of creative expression?

I'm always seeing artists quit the space citing that no one really wants to engage with their work other than as memecoins with pictures. This is detrimental because if all the people with artistic voices quit, then what you are left with are opportunists selling images from Fiverr or from careless AI prompts and then any potential of NFT art being more than memecoins with pictures is gone. So I see Gallery fostering a deeper community around artistic activity and this is important and incredibly crucial in elevating the form. Being able to log on and see people purely enjoying and sharing images in a space like Gallery is a very powerful thing.

https://opensea.io/assets/0x99De131Ff1223C4f47316c0Bb50E42f356dafdaA/1

How do you envision potential improvements to the platform? Are there any specific features you would like to see added or implemented to enhance your experience as an artist or user of the platform?

I would selfishly love Fantom support there just so I can make galleries with all my Goool work. Though I understand that might be a lot of overhead for something that doesn't have a lot of active artists currently. I think maybe doing some more content about the art, artists, and collectors could make the platform even more interesting as a place to visit and perhaps drive more conversation – I guess that's what this editorial series is. Overall, I'm pretty happy about the direction the platform is going and I trust the team to keep surprising me with wherever it goes next!

Thank you for your time Elle. See you online!

♡( ◡‿◡ )

X (Twitter): https://twitter.com/riotgoools

Farcaster: https://warpcast.com/riotgoools

Gallery: https://gallery.so/elle

Follow us on X (Twitter), Farcaster, or here on Mirror to stay updated on the latest articles and interviews we publish. You can also join our Discord server to chat with the artists and other community members.

“Through expression, we meet ourselves”

- Rick Rubin

Art is not a luxury. Art teaches us to feel. Art teaches us to think. Art makes you feel loved. Art makes you feel less alone. Art supports you through the end of a relationship or a passing of a loved one. Art shows you a different perspective. Art is a necessity. Art is a force for good. And the more art, the better.

Technology and the arts are symbiotic. From the printing press to the arrival of photography to digital tools like Photoshop, technology has consistently unlocked new art forms and movements, democratizing creativity along the way. Most recently, the advent of the social web gave artists a global platform, kickstarting a whole new generation of digital-first creatives. But these platforms came with caveats—creators face a gap between likes and real income, attention-optimized algorithms perpetuate harmful incentives, and platforms wield disproportionate power over creators.

With much fanfare, Web3 introduced a new paradigm: digital ownership. Since 2021 (when Gallery first launched) we have witnessed a historic revolution in art. Countless artists sold work for the first time in their lives, hundreds of thousands of people became first-time art collectors, and over $40 billion in value has been generated for creative works—all through the internet. In parallel, incredible technological progress has been made by our collaborators in the ecosystem. We now have a host of creative minting tools, can facilitate seamless transactions, and have caught the attention of institutions and galleries.

Yet despite this, crypto-based art is still niche. Many artists struggle to make sales, collectors lack ways to discover, and all participants across the globe can still fit into one big building.

The same social platforms that sparked the start of this revolution, today hold us back. We still share screenshots and jpegs. Artists struggle for engagement daily. Discovery is beholden to an algorithm built for attention. The technology is ready but the ways in which we interact and connect are still disappointingly similar to how they were over a decade ago.

If our gathering spaces don’t evolve with our creative infrastructure, we are stuck. Alongside many others, we seek to change this. With that, we unveil the next chapter of Gallery.

Introducing Gallery: The Social App for Art

This release marks the evolution of Gallery into a full social app built to share art.

Digital objects, or NFTs, go far beyond simply representing a single image or video. Digital objects are imbued with context — a name, collection, description, date, traits, the actual media. Collecting these objects reflects a deeper, more personal act than ever before. More importantly, these objects have built-in social graphs. The collector now has a relationship with the creator represented onchain, along with all the other collectors of the work.

In essence, digital objects represent a new medium of expression. And Gallery is the social app built natively for this medium. We have taken care to examine every detail from first principles to best represent how works should be shared, displayed, viewed, and interacted with. Here’s how our new app works:

You can post work you have either created or collected to our new feed. Here, they are displayed as the objects they are, not a jpeg. As you view the object, you can dive into the details to explore more. Soon, you will even be able to mint the object directly in-app. For artists, this means a new, authentic way to share your work with a specific audience of collectors.

Our feed algorithmically curates to your taste. Unlike a web2 feed, we focus on the things that you own or create, rather than simply follows and engagement. We don’t want your attention—we want to help you find art that you enjoy. Notably, as an artist you don’t have to come and “rebuild your audience.” By sharing on Gallery, you’re sharing directly to your collector base and community.

Our new collection pages on Gallery focus on community and context, not price. There are too many great projects with rich context between Twitter and Discord that are forgotten weeks after mint. By sharing on Gallery, all posts are archived on their respective collection pages so the story is never lost.

And you can do all this from your phone. We’re available on Testflight for iOS and soon will be available for everyone on the App Store and Android.

What’s Next

After a couple months of closed testing, we have just crossed 1K posts and are now releasing this product in Open Beta for everyone to try. We have a packed roadmap ahead that includes replies, mentions, discovery features, and more, and we are constantly updating and refining.

We believe art can change the world and we are on the precipice of a bright new future — help us create it. Download the Testflight here or sign up now at gallery.so and build with us from the ground up.

To help you get started, sign up, mint this blog post, and share it in a post introducing yourself.

We can’t wait to see what you create.

See you on Gallery,

Ps, Thank you to our early testers for contributing and sharing thoughtful feedback. Special thanks to motzko, duaneking, visualbuffets, mitchell, derekedws, cutbank, burgoon, alec, almar, kylodzi, oaklordone, jordanlyall, mchx, dark0, zaphodok, pixelpete, emodi, Figure31, RezaMilani, alexgedevani, pk, hamsun, qaulv

Q: You have mysterious (anon) origins, a self-described Cryptopunk OG, with an eye for collecting and curating. - How did you end up in the world of digital art? Were you more drawn into this world by the art or the technology?

Punkasso: I’ve actually been in the crypto space 10 years now. The technology and its applications to finance is what originally drew me in. I became quickly fascinated with the concept of smart contracts at the launch of Ethereum. I knew eventually it would be applied to art and collectibles. Finance is a complex concept for many but collectibles and art can be enjoyed by anyone. I actually originally thought in-game assets in video games would lead to the initial explosion of NFTs but it was much simpler in reality, digital art did it.

Punks came out around the time of crypto kitties but the simplicity and genius of the 10k launch with different traits drew me in with Punks. I never really imagined they would explode in value like they have but I had to collect them when I saw them.

Q: Super fascinating! 10 Years! You have a lot of conviction in the tech so i'm not surprised. Between the video game mental models and early exposure to crypto, i'm going to guess you've probably always had an inclination for (emergent) technologies in some form. Has that influenced your curatorial eye? for example with those early days and og punks - were you drawn more to the mechanics? the potential? the retro aesthetics?

Punkasso: So for sure first with Punks I was drawn to how advanced it was for the time. 2017 Ethereum was a totally different ballgame. Wallet tech was rough, UX on all dapps was atrocious, etc.

Punks came out with this beautiful app for the time. There was a huge canvas you could scroll on the claim your punks for free on launch day. It really drew you in because there just wasn’t much like it yet. Keep in mind this was before erc721 standard so there weren’t even good marketplaces for NFTs, actually if any at all. Larva labs built their own and that was unique too.

The art definitely drew me in as well but funny enough it wasnt until after the fact when us collectors gathered in their discord that we started identifying and breaking down traits and their rarity. No one really knew initially

As for my personal collecting now I definitely first and foremost just collect things I genuinely connect with and like. However, I do look for unique things as well that I think could be emergent trends. Id say the biggest for me right now in that category is on-chain art. I’m not sure many people realize that 99% of their NFT art could just disappear tomorrow if artists decide to rug. With on-chain art, it’s there forever. I’m bullish on ripcache and zeroxart in this category for sure.

Q: incredible -- How about curation? What informs your curatorial eye? Is it mostly instinctual?

Punkasso: mostly instinctual yes but at the same time, for something like punkasso world, we do consider many factors such as: is an artist settled into their style, are they not over-minting/have too much for sale, does it add good variety to our world, are they easy to get along with, etc.

Most importantly I have to vibe with the work. Almost everyone invited so far to punkasso world, I've previously collected in my own collection.

Q: What advice do you have for up and comers in the space? collectors and artists

Punkasso: Collect what you genuinely like. It’s easy with most NFT chat happening on social media to follow the crowds. But some of my best investments have been looking where others aren’t

Same goes for artists too. Create what you like, not what’s popular. If you settle into a style or theme that’s unique, collectors will come

Punkasso's instinctual approach to curation and emphasis on genuinely connecting with the work provides inspiration for both up-and-coming artists and collectors. As the world of art continues to evolve, Punkasso's unique perspective sheds light on the intersection of art and technology and the potential for emergent trends in the digital art scene.

How did you end up in web3 as both an artist and collector? Walk us through your journey and what sparked your interest in the space.

     I discovered NFTs in 2021 via a friend around the time of the $69m Beeple sale. I bought and sold the odd PFP project here and there, but I’d mostly watch what was going on. I was far too busy with work to give it my full attention, I did however listen to many podcasts and watch YouTube videos on a daily basis to soak up as much knowledge as possible. Being a digital illustrator, I found the true ownership of digital assets fascinating. It was not until October of 2022, I decided to create my own pieces and give it a go using the knowledge I had gained over the prior 18 months or so. In terms of a collectors view point, I’m an artist first a foremost, but I just love art, so I also buy art. I want to own pieces by the artists to are considered the OGs in the space, while at the same time buy from lesser known artists. If the art is good and I have some connection to it, I’ll buy it, no matter how big or ‘small’ the artist is.

How does your experience as a creative inform your curatorial eye? Does your own art or philosophies (like "embracing minimalism")  influence what you collect?

     Absolutely, I recently said in an interview with @sleepyzcurates that I feel I’m creating art I’d like to look at. I also think as an artist who buys art, you have that understanding how much time and effort must have been put into a piece. Anyone can imagine and appreciate how long it must have taken to draw this, or paint that, but I think there’s a different level of respect when you create art yourself.

Can you share with us your most prized NFT possession, and what makes it so special to you?

     My Chromie Squiggle for sure. Do I need to say why? It’s a Squiggle, the first ever ArtBlocks drop. I honestly think they’re actually undervalued at this point. I’d like another one. But to add to that, I got mine via an art trade (Thank you Derek, if you’re reading this), so it makes it extra special because I was able to swap one of my own 1/1s for a squiggle. A real pinch me moment.

How does Gallery play a role in your collecting experience? Are there any features you wish to see?

     I really like the clean aesthetic, Gallery is a beautiful way of displaying your collection, without all the floor prices, listings, filters and everything else, and just have it about the art.

     I’d like to see a feature where I can display my own art in the same beautifully simplistic way. An additional tab or switch at the top of your profile to toggle between Collected and Created.

What are some artists and/or collectors you're excited about right now?

     Grant Yun of course, always excited to see his latest work. But I’m also very excited to watch the journeys of Terrell Jones, Jeremy Booth, CMPLX, TexTrnr, Insplace, Mannay, Gelo, Sigma-X, Batz, Lucrece… I could go on. There’s so many fantastic upcoming creators

It was wonderful to speak with 0xdgb and hear their thoughts on the world of NFTs and collecting. Their love of art and passion for supporting both established and emerging artists was truly inspiring. We can't wait to see all the ways they continue to unlock their creativity through curation, and look forward to seeing more of their own art in the future.

Thank you for your time, 0xdgb!

We believe that curation is an act of creativity, and the pieces you collect are reflections of your thoughts, interests, feelings, connections, and dreams. We believe everyone has a unique perspective to share and deserves a beautiful space to share it.

We are on the relentless pursuit to create a new network: one where individuality is celebrated, creativity is valued, and authentic connections flourish on the internet — built openly on the blockchain.

Gallery Mementos is an actualization of that idea – we are memorializing collectible artifacts to commemorate milestones, visions, campaigns, and moments together.

The future is ours to build, and yours to collect.

What are Gallery Mementos?

Since the beginning, Gallery has been a pioneer in flipping the platform-user relationship on its head. From our very first membership card NFTs in 2020, to our community poster, to the many milestones we’ve celebrated together, we believe web3 offers a better way — a social platform where where users are partners and co-creators rather than opportunities to extract value.

Some may remember our first Allowlist Mint – The Next Era of Self Expression – which released in December 2022 to our most active and early adopters of our social features. This served as an early experiment for Gallery Mementos and inspired much of this initiative today.

Gallery Mementos are a living collection of treasures that will come to tell the story of the development of Gallery and its community. These collectibles are works of art first and foremost, and we hope our users are proud to earn and curate them.

Gallery mementos are memories. They’re moments in time. They’re objects of affection. They’re for you to look back on proudly. We hope in 10 years Gallery Mementos call back to a special time in internet history — and in your life.

We hope in the future the narratives and the art are eventually another canvas for you, the community, to paint on.

Presenting: Infinita Prospectus

To celebrate this launch, we're introducing a commemorative Gallery Memento: Infinita Prospectus. Infinita Prospectus, latin for Infinite Perspectives, is a collectible that celebrates the release of our multi-gallery feature, an evolution in the way users can express themselves on Gallery.

Here’s how to be eligible to mint:

• On February 23rd, a snapshot will be taken of all users with at least two galleries.

• You have from now until then to set up new galleries using our multi-gallery feature

• Minting will open February 23rd until March 2nd at 11:59pm ET. The mint is free and limited to one per holder.

• Users must designate their primary wallet in Gallery.so/settings to redeem their memento.

We’re so excited to see how people curate and express themselves. This is the first step in something we intend to continue to expand upon. Thank you for being along for the journey, we can't wait to see what comes next!

Stay tuned into our social channels for updates.

We'll be revealing the artwork behind Infinita Prospectus later this week.

Leonidas is a collector of historically significant digital art. They have accumulated a sprawling array of NFTs from the early emergence period of 2011 to 2020, on a mission to highlight the innovation and culture of early on-chain pioneers. They curate with an emphasis on historical significance and focus on acquiring NFTs that will be considered priceless cultural artifacts in the future.

We asked Leonidas about art, curation, and code. Here's what they had to say:

1) How did you become the NFT collector you are today? Walk us through your journey and what sparked your interest in the space.

The magical experience that Roham and the team at Dapper Labs created with CryptoKitties back in 2017 onboarded me to the space and I will forever be grateful to them for that. I played around with OpenSea when it came out but mostly checked out from NFTs until late 2020 when several people told me they were interesting things happening again. I spent an hour visiting all of the new platforms that had been created but was overwhelmed and had no clue how to determine what was worthy of collecting or not. So rather than trying to navigate this new market of NFTs my gut instinct was to go buy the two oldest collections that I knew about with the thinking that the oldest NFT projects would probably have some sort of long-term collectible value. So I picked up a founder CryptoKitty and a CryptoPunk and then mostly sat back and watched the market until one day in March 2021 when I stumbled into a Clubhouse room where the speakers were talking about the rediscovery of an old project called MoonCats. I listened on as this early project that they had found went from a $0 market cap to a $100M market in just a few hours and it occurred to me that there were probably other forgotten NFT projects on Ethereum from 2017. I hopped onto my laptop and after about three hours of doing research, on the seventh page of a Google search for "crypto art" filtered to the year 2017, I came across an old project called Digital Zones of Immaterial Pictorial Sensibility by Mitchell F Chan that I absolutely fell in love with and hold to this day. This is when I really started taking historical NFT collecting seriously.

2) What's your strategy when it comes to curating your collection?

Our civilization is in the middle of a century-long transition to becoming fully digital. When Satoshi introduced the concept of true ownership of digital assets, it changed the trajectory of our society forever. A century from now, our descendants will consider the earliest of these digital assets to be priceless cultural artifacts. When I collect, I try to look through their eyes and determine what I think they will view as being the most historically significant. A few of the things that I think about other than on-chain timestamp are: How suitable is an asset as a store of value from a technical perspective? Was it early in a specific category, such as gaming, PFPs, generative art, etc.? Did it influence collections created after it? Was anything about it innovative technically? I tend to try to avoid pieces where the "intrinsic" historical value is inflated by a strong community or the assumption that a founder will execute well, etc. It's a very difficult challenge for an artist or founder's creation to remain relevant in a decade. Even the most exciting thing at any given point in time can turn into a fad a few years later. I want to collect pieces that don't have as much of this risk which has mostly kept me to collecting art and early NFTs experiments.

3) Can you share with us your most prized NFT possession, and what makes it so special to you?

My Digital Zones of Immaterial Pictorial Sensibility by Mitchell F Chan are very special to me. Because of the role Digital Zones played in my life I will always have an emotional connection with them. Then on top of that they are also incredibly compelling conceptual art pieces that were way ahead of their time in many ways. For example, there is no visual component to them. Everyone else created at that time was focused on taking the concept of a token and adding metadata to it which linked to a JPEG. Mitchell took things a step further and actually leveraged the smart contract to create the art. You couldn't have the same experience with the art if it weren't on the blockchain. With generative art NFTs being so common today nobody bats an eye at an artist coding rules about the art into a smart contract but in 2017 this was super innovative. Naturally, my Digital Zones sit at the top of my Gallery!

4) How does Gallery play a role in your NFT collecting experience?

Gallery is the best tool I have come across for displaying my collection. Not in terms of the UI that I use (although it's great), but how it presents itself to others. I can quickly share my custom URL with people and no matter what device they are on they can quickly scan my collection and see what I'm into. The simplicity of it is my favorite part. Anything more takes away from the art on the screen so I like that minimalism and cleanness.

Sign up for Gallery for free at gallery.so. Share your gallery on Twitter and tag @GALLERY for a chance to be featured for the next edition.

Motzko has an impressive, sprawling collection of work from Yazid, Zancan, Mathcastles, and Marina Abramović. With such diverse and compelling taste, it's no surprise they land themselves as one of the most popular galleries today.

We asked Motzko about art, curation, and code. Here's what he had to say:

1) How did you become the NFT collector you are today? Walk us through your journey and what sparked your interest in the space.

I've only been in crypto for a few years, but my passion for art and technology has been a constant throughout my life. The emergence of NFTs as a new and innovative medium for digital art sparked my interest, and as I dove down the NFT rabbit hole I was lucky enough to stumble upon a few vibrant communities of artists and collectors who shared my interests–Block Talk & @GrailersDAO. Engaging in these communities has 100% influenced the collector and curator that I am today

2) What's your strategy when it comes to curating your collection?

Buy what you love.

3) Can you share with us your most prized NFT possession, and what makes it so special to you?

I'm obsessed with several pieces in my collection (Squiggles, Squares, Automatism, FAKE IT TILL YOU MAKE IT, JPEG), but I would say that Transcendence by @jeffgdavis holds a special place in my heart. As a huge admirer of Jeff's work, I was lucky enough to mint this piece at @brtmoments CDMX and watch it reveal live, in-person with Jeff Davis himself. The evening also included @fingacode throwing a poncho over my head and getting abducted by a tribe of indigenous musicians playing drums. It was truly an unforgettable night and one that I will cherish forever.

4) How does Gallery play a role in your NFT collecting experience?

Gallery has completely changed my approach to collecting art. I used to buy pieces without considering how they would fit into my collection as a whole. But with Gallery, I am able to curate and organize my collection in a cohesive manner which has greatly improved the overall aesthetic and coherence of my collection. Gallery has allowed me to think more strategically about the pieces I collect and has ultimately made the process of collecting more enjoyable and rewarding.

Sign up for Gallery for free at gallery.so. Share your Gallery on Twitter and tag @GALLERY for a chance to be featured for the next edition.

Since our inception, Gallery has been focused on fostering a sense of community through the curation and ownership of NFTs. In November 2021, we launched our Premium Membership Cards as a way to empower and recognize our earliest users. Today, we are proud to have over 1,000 premium member card holders, some of whom have even seen their cards fetch upwards of 3 ETH on the secondary market.

See the entire list of Gallery members here.

The Members Club

The Gallery Members Club takes this recognition and community-building to the next level. If you hold any Premium Membership Card, you are automatically enrolled in the Members Club and will receive

• An exclusive badge on your profile

• Early access to beta features

• Entrance to a Members Only channel to reach the team

• Email newsletter with early Gallery news

• + Future special perks

To join the Members Club, visit your settings in Gallery, enter your email, join our Discord and verify your wallet, and you're all set.

Over the next week, we will also be hand-selecting and gifting Premium Membership Cards to users who have demonstrated their passion for Gallery through valuable feedback, proactive sharing, and bug-squashing. In the future, we may continue to selectively gift member cards to more users as they demonstrate their commitment to the Gallery community.

Stay tuned to our Twitter, Discord, and email notifications for updates on the Members Club and all the latest from Gallery.

To close out the year, we’re celebrating the best and the brightest with the inaugural Gallery Awards.

What are Gallery Awards?

Gallery Awards are celebrations of taste and impact granted to members of our community. We have designated three categories consisting of twelve total awards — as NFTs! — over the course of the week. Our goal is to shine a light on the members who have played an outsized role in shaping our community and the ecosystem as a whole.

Winners will be granted a digital trophy that will memorialize their achievement forever on the blockchain. All awardees will earn a spot on the community page directory for the 2022 program where you can browse the list in full. Additionally, those who share their trophy on their Gallery will receive a badge representing their award that they can flex across our platform.

Winners were selected through a mix of data and community nominations, with decisions finalized by our Curatorial Team.

The Awards.

The following awards are to be handed out for this year’s program. We will announce the winners on our Twitter starting Wednesday 12/21 to Friday 12/23.

Curatorial Selections (Wed 12/21)

Winners are selected on curatorial merits.

• Outstanding Curation of a Generative Art Collection - DCinvestor (Gallery, Twitter)

• Outstanding Curation of a Tezos Collection - Designer (Gallery, Twitter)

• Outstanding Curation by a Collective - 1of1 (Gallery, Twitter)

• Outstanding Curation by an Individual - Bastiboii (Gallery, Twitter)

Maxi (Thur 12/22)

Winners are derived based on quantitative metrics.

• POAP Maxi - Epdrabbit (Gallery, Twitter)

• Gallery Maxi - Tomakinz (Gallery, Twitter)

• Most Collected Platform - Artblocks (Twitter)

• Most Viewed Gallery - PleasrDAO (Gallery, Twitter)

Top Honors (Fri 12/23)

Winners are selected through a combination of qualitative and quantitative inputs.

• Community of the Year - Cryptocoven (Gallery, Twitter)

• DAO of the Year - FlamingoDAO (Gallery, Twitter)

• Degen of the Year - Deeze (Gallery, Twitter)

• Gallery of the Year - Curated (Gallery, Twitter)

What’s next?

We will be announcing the winners on Twitter so follow us to stay tuned!

For winners, we will reach out to coordinate your prize through Twitter or email. If you haven’t already, please connect your email to your Gallery account or be on the look out for a message from the Gallery official account on Twitter.