How should I execute an idea? What medium should I use?  

This seems like a natural thought in an age when as artists we have more tools than ever at our disposal. (Not to mention the infinite combinations of techniques and mediums we can use.)  Art reflects life after all, and in modern life, we are faced with a dizzying amount of choice. 

The paradox of choice is increasingly apparent.

Say I’d like to pixelate an image. I could: use photoshop, hand paint the pixels, use dedicated web apps, code it myself (i.e. p5.js), use programs like Figma that aren’t necessarily meant for that purpose but could pull off the job, or I could use or train AI models to accomplish the task (and I’m probably missing a few.)

So, how do I choose?

Maybe I could choose based on: 

1. Speed: what’s the fastest method available to me?

2. Difficulty or Non-replicability:  If I feared that someone might copy my method? Or if I value being a pioneer?

3. Message: Perhaps the ‘how’ adds to the narrative I’m communicating?

4. Scale: I might choose a different ‘how’ depending on how many pieces will be in the collection, or their physical size.

5. Skill: Related to speed. I could choose what is most familiar (or the opposite if I’d like to develop a new skill.)

And then there’s the notion of beauty; perhaps the right choice is what makes the art most beautiful? In the words of David Hickey: 

“In images,... beauty was the agency that caused visual pleasure in the beholder; and any theory of images that was not grounded in the pleasure of the beholder begged the question of their efficacy and doomed itself to inconsequence.”

And so,

As I reflect on this non-exhaustive list, I realize that what underlies the decision of how to pixelate an image is simply truth — my truth — or in other words: a bunch of beliefs and values that I must confront as an artist: 

• Do I believe I need to innovate in the “how” as much as the “what” for my art to communicate effectively?

• Does my art need to communicate anything at all, beyond beauty?

• Will the “how” produce a more distinct visual outcome? (Do I care?)

• More intangibly: What is yelling at me the loudest? (When I sit still, where is the muse directing me?)

• And perhaps most difficult to answer: Why am I making art? For what purpose? For whom?

Is what you see, what you get?

That brings me to ‘Wysiwyg I’, my debut collection on Tezos of 11 x 1/1s.

In art, is what you see - what you get? No. It’s not. You get more than what you see. You also get the infinitesimal decisions, the ethos, and most importantly, a glimpse of someone’s truth - someone’s authenticity. 

And so, when I’m faced with the paradox of choice in art, I stop to listen. And I let my guide be what I most authentically need to express.

P.S

“The Artist is Here” is creator-driven.

As you might pick up a copy of a local magazine or newspaper, you can also mint a copy of “The Artist is Here”. Entries include original artwork by yours truly.

Welcome to new readers, and welcome back to subscribers! Today, I’m sharing something new.

New Drop Announcement

“Untraceables”, a collection of 55 x 1/1s, will be minting Monday April 24th at 5pm ET.

About the Art

Art and life are about the limitations we choose and accept. A haiku, for example, is judged by how choice of language fits into an arbitrary number of lines and syllables.

"Untraceables" meditates on creative and existential limitations, and their consequences.

The creative limitations set in this body of work are simple: Each work in "Untraceables" originates from a single piece in my recent "Inferences" collection, Inference # 1.

Inference #1 was subtly transformed using AI tools to create a small set of derivatives with similar form but varying visual quality, which were combined to create an original abstract work. Then, a combination of text-to-image and digital tools were used once-more to transform the abstract work into a final set of "Untraceables''.

I find processes of transformation fascinating and mysterious. Often, others only see the end-product because we choose to limit what we reveal. By embedding the infinite nuances of language (AI) and original artwork within the creative process, "Untraceables" become impossible to replicate.

The process of transformation exists on a macro level too. Art and ideas build on themselves.We all stand on the shoulders of giants.This is true more than ever with AI easing access to the world's visual lexicon at our fingertips.

In "Untraceables", winding forms from "Inferences" persist, representing humanity's personal and collective journey of adaptation with new technology. Except now, human figures are introduced into these otherworldly, abstract environments.

The figures represent the ambiguous duality of existence; our teetering between facticity and transcendence, or who we are vs. who we have the potential to become…Similar to a node in an AI model or idea taking shape, at the cusp of inference.

Spread the Word

Thank you for reading! To help spread the word, like and retweet my post announcing “Untraceables”.

A Special Note to Subscribers

Hey, you. Thank you for coming on this journey with me. I started “The Artist is Here” to have a more permanent place for the thinking and inquiry behind my art, and life. I also hope to include unique art with each entry. You’ll be able to collect entries, like moments frozen in time, as you might a magazine (back in the day).

I’m thrilled that you’ve joined me here.

Historically, journals and sketchbooks are revealed post-mortem, leaving much of the creative process a mystery.

Our world today however is full of immediacy.

“Unbound” is a collection of my potent thoughts, actualized in a visual format. And so, it is also an exploration of text-based art, a long-term fascination of mine. By allowing others to read (or see?) my thoughts, I allow others to participate in the process of creation, now. As such, ‘Time’ is embedded as a protagonist within “Unbound”.

What’s next? How do I mint?

“Unbound” is an ongoing collection that will be revealed through my newsletter “The Artist is Here” sporadically, as journal or sketchbook entries often are. It will be available to mint only for subscribers.

Each piece will be different. Below is the first piece '“Unbound, Title Page”.

https://opensea.io/assets/ethereum/0x84CF001B9631C3449BB973daff673e31Be69109c/0

What’s “text-based” art?

Text-based art is exactly that: art that incorporates text. Some well-known artists include Barbara Kruger, Ed Ruscha, and Jennifer Holzer. In the future, I’ll be diving deeper into why I find this art fascinating, stay tuned.

So, what should I expect?

1. Relatively short posts

2. Insights into the artistic process of collections like “Inferences”

3. An easy way to go back and find my previous thinking, writing

4. Understanding deeper motivations behind artistic directions

5. Early and special access to upcoming drops

Why is it called “The Artist is Here”?

“The Artist is Here” represents art’s inextricable connection to life. It is a nod to conceptual artist Marina Abramovic @ArtistisPresent who has been fearlessly redefining art for decades by putting herself through awe-inspiring feats of mental and physical perseverance. You may have heard of her 2010 live-performance at the MoMA, Artist is Present.

In live-performance the artist is evidently there, present.

“Here” is my way of being present with you.

I hope you join me “Here”,

P.S.

In the ethos of web3, “The Artist is Here” is creator-driven.

As you might pick up a copy of a local magazine or newspaper, you can also mint a copy of “The Artist is Here”. Entries include original artwork by yours truly.