Will digital art change the way we create, consume and commission works of art?


That’s right :class=”without”> I would be interested to know what were your first opinions on NFTs in particular?class=”without”>

Trevor Jackson: I think if I’m being honest, my first impression was seeing people making a lot of money with what seemed to me to be doing very little. Beyond my design philosophy, my philosophy in life is to try to work as little as possible and make as much money as possible – I say with a strong touch of sarcasm.

But basically I’m always excited and interested in new mediums. I’ve had a fascination with digital art since I was a kid, which until very recently had been completely shunned by the art community. It’s quite interesting how the digital art space is growing, and I think to be honest, I wanted to be involved because of my love of digital art.

David Rudnick: Although it’s strange to say, certain ideas of blockchain, or that there was an emerging space ahead of us, like a virtual library in Alexandria where our work would end up, almost haunted me. It always felt like we were in the last days of something, that we were these physical working dinosaurs. It is in the same way that opera is an inherited institution. I say this with no disrespect to opera, but it’s a performance of rituals that puts people at ease because they meant something to people before, but they don’t really mean anything now. We all love this work, there are cultural rituals that mean a lot to us, but there has always been this fear in me that for the next generation it could be like an opera for them.

Over the past couple of years I’ve been interested in what those systems might be and maybe had a trigger reflex to watch for moments that might be a major shift. Then in early 2021 some people I knew started a marketplace called Zora. I’ve seen a deluge of mostly awful jobs popping up in space, but also some puzzling conventions: Zora wasn’t taking commission and people were bidding with these exotic cryptocurrencies and the amount it was worth was astronomical.

IN:class=”without”> Were you concerned?class=”without”>

DR: Well, around this time, two marketplaces, Zora and Foundation, came online and others like Nifty Gateway and SuperRare started to increase in volume. It hadn’t quite hit the peak of the NFT buzz yet, but it was like, okay, as people who work in the cultural sector, we’ve been through this before. I had walked through the last ten years with these fears and was very skeptical about what social media, or Web 2.0 models, would do to our work – to a point that really alienated me early in my career. . Over time, people realized that these things hurt their practices, the monetary value of what they made, their sanity, their democracies. We got to a point where, with the emergence of this new paradigm, it made sense to ask not what this space is going to give us, but what is it going to destroy?

I made the decision to move into the space because I felt we could witness the emergence of a platform that could be the basis around which certain types of culture organize themselves. I think some of the things it offers are generally outstanding; how you can allocate equity, for example. The first book I chained sold and it was pretty mind-blowing for someone who works in graphic design, a field where we are so used to having the value of our work fully realized. With the number of mood boards created, it’s actually easier for other people to make money off of my work than it is for me once it’s publicly on the internet. Seeing a platform where some of the value is attributed to you was exciting, but it didn’t seem like it solved the problem.

TJ: As for the work I’ve done in space, much of it stems from feeling totally overwhelmed by the increasing amount of media, information and news bombarding me daily, while working with a variety of different mediums, all with their own diverse challenges. For this reason, I have strived to simplify and refine many areas of my life and practice – both creatively and practically. Actively engaging in a new space that was initially complex and difficult to fully understand and navigate, somewhat conflicts with my attempts to cut out all the noise. I tried to approach it with caution, no matter how exciting the potential might be. I am also fully aware that I am entering a “world” of which I am not necessarily a part and have consciously tried to enter it with this in mind.


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