Welcome to Voxels!
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| Orig cvr for this issue (b4 the concept/name change) by CMYK 2024 |
Voxelian No.1 by CMYK, minting on Manifold! Vox-up your parcel and NFT collection while they last.
There's also a Voxels Theme (music by Yorz Trooley) also minting on Manifold. Bring some sounds into your metaverse pad or headphones IRL. Limited quantity!
Voxels virtual world is a metaverse on the Ethereum blockchain. Inspired by Minecraft, but (literally) worlds more sophisticated, Voxels was born in April, 2018 as Cryptovoxels. The fully immerse 3D world - then black and white - attracted futurists, metaverse explorers, NFT enthusiasts of all kinds including crypto artists and Crypto Punk owners, crypto-currency speculators, plus many types of companies operating on the blockchain from NFT art marketplaces to virtual coolsculpting centers.
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| Architect Island, Voxels (see link below for GIF with text) |
Welcome to Voxels GIF minting on Transient Labs!
Voxels parcels are available to purchase on Rarible and OpenSea. However, many Voxels community members were 'distinguished guests' for months or even years, by being Collaborators on others' parcels. Unlike Minecraft, Roblox, and other non-blockchain virtual worlds, properties in Voxels are fully ownable, and thus fully sellable and tradable. Land in Voxels is digital real-estate on the blockchain.
Voxels is triumphantly unique among metaverses. The three things that set it far apart - aside from ready mobile access - however, are: it's historical significance as an early presenter and holder of iconic crypto artworks as well as a virtual residence for many early and still-popular crypto artists; and its forward-thinking, proudly eccentric, and creatively passionate community. It's that third thing - community - I will highlight in this publication. It's a community who helped me through the Great Shutdown. It's a group of people from - quite literally - all over the world I'm proud to be a part of.
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| Parallax Five (2022) by CMYK |
One such Voxels community member is CMYK, a Voxels resident and OG blockchain artist who has been active before Ethereum was a thing, minting works on the Counterparty and Dogeparty platforms as early as 2014 (early Bitcoin NFTs. Yes Ordinals aren't the debut). How's that for OG? In this first issue of Voxels virtual world Tours and Interviews, I try to catch up to CMYK who has perhaps made his 100th Inscription by the time I did.
CMYK, hello and thanks for making time to talk. So, you're an artist and virtual architect who has been active in blockchain art for a decade. How did you get involved with the blockchain?
Nine years ago I bought my first NFT, so not quite a decade. Owned Bitcoin for a decade by now though, and tried to mine it without success in either late 2012 or 2013. It was already long past the time when you could mine with your own PC, but I gave it go a go anyway and almost killed the computer by doing so. That's how I got involved originally.
Today in Web3 and on Crypto / NFTwitter we are used to good conversation and opportunities, but also 'Influencers' of all types: personalities who give long, ideological tweetstorms; others who have seemingly abandoned crypto for quasi-politics; big name artists and collectors, etc. How does the general crypto / NFT community differ from back in the days of Counterparty and DogeParty protocols? And when did you mint your first artwork there? Do you think Counterparty and Dogeparty are respected appropriately in blockchain art history?
There weren't that many people even aware of it back then. Basically the ones likely to have been aware of what are mostly now called NFTs were those who owned Bitcoin, and in some cases Dogecoin. Essentially in 2015 there were just a very, very small amount of people, and not many were particularly connected in much of a way to each other. Maybe there were some on Twitter, but I don't know as I tried to avoid Twitter for the longest time. Some would filter over from the Bitcoin Talk forum as Spells of Genesis sometimes posted in a sub forum there but not that many really.
[NOTE: Spells of Genesis Mansion in Voxels]
Many of us were minting assets on CounterpartyXCP - those were my first mints - and of course Spells of Genesis was a big attraction for some of us. We didn't have dispensers initially either, we just used the CounterpartyXCP Dex [decentralized exchange]. I don't remember there even being a Telegram channel. I think that came along with the people who started creating the RarePepe cards in 2016.
"Almost no one who came along with the creation of Ethereum and its art scene wants to acknowledge Counterparty's existence."
- CMYK
I think CounterpartyXCP has suffered by being compared to the more modern platforms where minting is just a few clicks, whereas CounterpartyXCP was a whole learning curve. I don't even think there was a tutorial for it for many years. You had to figure it out yourself. Almost no one who came along with the creation of Ethereum and its art scene wants to acknowledge Counterparty's existence; they'd rather think nothing existed before that. Then when lots of artists appeared on Tezos [blockchain], many wanted to forget Ethereum. And when Ordinals came along, no one including most of the CounterpartyXCP people wanted to acknowledge it either.
People get invested and attached to the protocol and chain, and often times the platform itself. I think most of them are useful for different things, depending on what you want to do. There was a time I wanted to mint only on Bitcoin when on-chain art would become possible, and I waited for that. Then I gave up waiting and minted on Ethereum. Somehow chains and protocols seem to take on a political them-and-us mentality, when in fact it's just you the artist who needs to eat and pay the bills or find a cheap way to mint, etc. If Bitcoin allowed for big enough animated file sizes and had a more developed art scene, I could see myself only minting there, but for now it's not quite the case.
A true OG, you've been active in Web3 before Ethereum, which 'launched' in 2015. What was the general reception to Ethereum: positive or skeptical? When did you notice artworks on the new blockchain, and when did you do your first Eth-mint?
The opinion I came across most often about Ethereum was mostly negative. If any crypto coming out had a pre-mine, most people in the Bitcoin Talk forum viewed it negatively, and there were some good reasons for this. Up until that time, there had been other coins created and a lot of the time the creator benefited massively. It's always been called 'the Kings friends' issue, as in, those connected to the creator get most of the benefits in the beginning. Of course it's quite common now and people barely bat an eyelid with pre-mines.
Counterparty's XCP at least only created as much at a certain price as they received Bitcoin, and then burned the Bitcoin thus transferring the value to XCP. There was also the fact that the ERC20 [smart contract] code was basically taken from CounterpartyXCP and altered. So, essentially in the beginning Ethereum was seen more as a rip of some of the elements of the CounterpartyXCP protocol. The first time I noticed art connected with Ethereum was the Cryptopunks. September of 2020 was when I actually minted artwork on Ethereum for the first time.
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| Kaleidoscope Artefact #20 (2021) by CMYK |
Over the years, have the actions of certain governments surprised you, regarding Bitcoin adoption (El Salvador, for example) or banning / threatening to ban Bitcoin and cryptocurrencies (China and Russia)?
I'm actually surprised that more governments around the world haven't already adopted Bitcoin in some way until now. Aside from price though, I'm not convinced that it's a good thing if they do. As more and more Trad-fi [traditional finance] gets involved with Bitcoin they spin the narrative that Bitcoin needs regulation. What they really mean is that 'they' want it to have regulation for their own benefit. Bitcoin in and of itself doesn't need regulation.
Once you bring in governments and regulations, you end up doing what they [trad-fi] have already done with their joke of a banking system: you un-bank large parts of the world that have started to benefit from Bitcoin. They will no doubt attempt so segregate Bitcoin users and their coins based on geography, identification, and so on. They are already doing it by forcing exchanges to use their KYC garbage. If you look at almost all the restrictions on financial transactions all over the world, you will find they arise from the U.S Dollar hegemony. A person who is less-travelled may not realize this.
In more than a few situations when I've asked why there was a difficulty in moving money around, I've been told it was basically the U.S restrictions in place. One of Bitcoin's major usage cases was to solve this, not to play ball with a system that is unfair to vast swathes of the human population. You can't ban (stop) Bitcoin, it will still keep on going. You only need two people in the world mining it and the [mining] difficulty setting will adjust. And let's face it, there will always be more than two people with the hope it will go up one day who are mining it, no matter the price.
"I think what most [Bitcoin users fear] is ownership of Bitcoin being outlawed." - CMYK
Many conflate the price going down due to some specific country's regulation as a negative. I think what most [Bitcoin users fear] is ownership of Bitcoin being outlawed. However you can just get on a plane with it and leave, so that's a major benefit. No matter if Bitcoin is at $60k or $0.06, you can still transfer value without any middleman being able to stop you. That's its major use case, as well as a store of value due to its limited supply. Not so much the speculation side of things in my opinion.
When did you know blockchain art was going to be a contender for traditional art? Did you know NFT Summer 2021 would eventually happen, after seeing previous, similar mania with CryptoKitties (2017) and CryptoPunks (2018, gradual mania), etc?
I should say, before NFT Summer, we had NFT Spring in March of '21, and that was far more impressive than NFT Summer. NFT Summer was more like what would be called a dead-cat-bounce by comparison. March 2021 was a no-sleep month for most of us. Summer was a bit more relaxed - I got to sleep, for example.
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| Descendants #180 Embryo, 2021 by CMYK (my coll.) |
In view of traditional art, I don't think it will disappear. There will always be some measure of a demand for it. Ebooks didn't overtake physical books, for example. Books exist side-by-side and are often still desirable. I think the NFT art will more merge with traditional art rather than completely overtake it, and we are seeing some measure of that now. I do think though, that several generations as they grow up will be more inclined to own digital assets such as NFT art more than they will traditional art. It'll be natural for them as NFTs will have always have existed for those generations. So in a nutshell, demand will increase in my opinion.
In view of the history with CryptoKitties and Cryptopunks, you are right. CryptoKitties was so FOMO'd into [fear of missing out] that it's mass-minting caused problems for the Ethereum chain itself, whereas Cryptopunks was a slow burn. You didn't particularly see many people with a Cryptopunk PFPs back then. In fact, the art project – which is what it was/is - wasn't considered PFPs [profile pics], they were generative art, although I seem to remember on the Punks release it was mentioned, 'maybe you can use them for your profile picture'. But that was more of a throwaway thought. I don't think it was expected that years later PFPs would hit that hard.
I really don't remember the term PFP being a phrase or much of a thing thing until Bored Ape Yacht Club came about. It had grown for sure, but not to the levels we see today. I didn't really expect that March of '21 to happen the way it did. In retrospect it seems to be connected to the way Bitcoin and so all cryptocurrencies function: fast, sudden and unexpected... but that can go in both directions, as we have seen.
Let's talk about your career specifically. What was your art experience prior to the blockchain, if any? Were you a working artist before bitcoin?
I studied art at school and then at college for a time, before studying film. It was just a common thing among myself and my friends to draw. When you're a kid there's not much money around art: it's all about doing the art you want to create and then getting some kudos when your friends also like it. I did get a commission through my art teacher once to do a poster for a gold club and earned a small amount, but I do mean small! In my early 20s I was more doing work on canvas rather than paper. Canvas had a kind of 'forever' feel to it. Paper doesn't go well when you accidentally spill coffee, etc, and it doesn't hold heavy amounts of oil or acrylic paint well, either.
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| Enter the Trashcan (2022) by CMYK |
Over those years I had friends asking to buy some of my work, but the amounts they would offer for pieces that took a month or more would have meant I'd have been essentially working for pennies per hour, so I would just give them the piece. Don't think I'd do the same thing now though. I wish I would have just accepted the money in retrospect. Other than that, I wasn't working professionally as an artist, more so doing art as and when I had the time.
When did you first sell art on the blockchain that was far more than you'd previously expected, and what platform mediated the sale?
I really didn't have much in the way of expectations in view of price. But I still remember one Friday or Saturday in 2020 a collector picking up several of my pieces for a total of 1 eth or just under 1 Eth [Ethereum. $2643 at time of this comment]. That was on the Rarible platform, which now seems to be having a slight resurgence. After that on both OpenSea and Known Origin the series Formation Vision sold out. Also my Frarny pieces [BELOW], then The Kaleidescope Artefacts series sold out as well, hitting 10 eth I think. After that, Descendants sold well.
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| Formation Vision #36 (2020) by CMYK |
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| Frarny Downloads his Consciousness (GIF) 2021 by CMYK |
"...HomerPunks sold-out in a big way on BitcoinStamps for around a quarter of a million. That surprised me." - CMYK
My first 1 Eth 1/1 [single artwork] sale was on Known Origin. The 2015 CounterpartyXCP token and card NAKAMOTOCARD sold for I think it was over 10k or so at the time. After that, the Supra-Liminal generative series on Ordinals sold out at I think it was 45k or so, then HomerPunks sold-out in a big way on BitcoinStamps for around a quarter of a million. They all surprise me. Those were the big ones so far I guess, but you only really get there by doing other work too. You can't decide what will sell well, the market and collectors do. Good sales enable you to keep going through the lean times, and that's what is really important in this space.
How would you describe your style(s) of artwork?
Ooh, that's a difficult one. I have a whole Artist Statement page on my website trying to hone that down. If I had to speak broadly, I would say I'm an abstract geometric artist, with minimalist leanings, that likes to use large areas of solid colour. But I also like more simple illustrative work like I used to do when I was younger. I also use other modalities such as glitch, pixel and whatever comes my way that sparks an interest. It helps broaden the artistic base and also triggers other creative directions that I cross-pollinate (so to speak) with other styles/types of work.
Which artwork has the most interesting backstory? What is that art and its story?
Another tough question...but that would be the HomerPunks. I had already been making some Homer-type pixel BitcoinStamps when the whole 10k of Cryptopunks being minted on BitcoinStamps (again, after Ordinals) was driving me bananas. It was then I just wondered, 'What would Homer look like with punk elements?' They were hand drawn and I deliberately made them as editions of 99 each in contrast to Cryptopunks that were 1/1s. It was kind of like my silent artistic minting protest, a bit of tongue in cheek... then they sold-out heavily over two days, non stop. I never expected that. Of course, after that I ended up buying one of the Cryptopunks on BitcoinStamps.
Regarding your virtual architecture, was Voxels fka Cryptovoxels b/w when you built your first parcel? Were you active within the community, or was it more of a 'see ya when i see ya' type of situation?
I think I began building the first gallery build The Sphinx in Origin City in Cryptovoxels in December 2020 and finished around the beginning of '21. I hung around Cryptovoxels a lot at that time and after. Voxels [renamed 2022] is a great community of mostly artists. It should be more widely used because you never know who you will meet in there. The common question I've been asked by newer artists is, “But did you get any sales via Voxels?” The answer is yes. I've had collectors tell me they've bought my work from seeing my art in one of my builds [I did -EP], and I've also met collectors in there.
"Being in Oncyber compared to Voxels is the difference between staying alone in your room compared to being at a large party."
- CMYK
It's only natural that collectors want somewhere to put artworks they own, and that space will often be a metaverse. I know there was a shift to some artists choosing the free option of Oncyber, but being in Oncyber compared to Voxels is the difference between staying alone in your room compared to being at a large party. Not the same at all. You don't have to own a plot in Voxels to use it, either. I used to spend hours and hours flying around Voxels, in fact you're giving me the urge, it's been sometime since I've been around in there [the whole pt of this interview ~ sinister laugh. Naw].
Did you attend any of the GangnamArt Club meetups back in the day in Cryptovoxels?
I think there was one I stumbled into. I ended up attending all kinds of events in Voxels, often times by accident as I'd end up wandering into them. People are generally really friendly in Voxels, too. The only downside was I got less artwork done because of it, lol.
What galleries in Voxels inspired you the most? I love the Museum of Crypto Art by Ogar, and CryptoTonya's gallery on Proton. Many others of course; I mentioned those two because of the vast difference in scale.
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| Crypto Tonya's gallery, 15 Proton |
15 Proton Gallery
Anything built by Ogar [directs to Ogars 'portfolio parcel'] is something special. A collector in the space called MAGALL used to suddenly appear in my gallery and then take me all over the place to see Ogar's and different people's builds, saying, “Look at this!” Haha, he was like my gallery build tour guide, and a nice guy too. I'd sometimes stumble upon nice builds myself, but if I'm being honest, it was Ogar's that had that 'Wow' factor for me. I made sure His voxel 32 x 32 avatar model is on the cover art for this issue because not having it would've been a crime. His is the one with the striped shirt [and red face].
What other Voxels parcels inspire(d) you?
There have been builds I've seen that were all over the place with large vox [voxel] models floating everywhere, and to some degree they were impressive, but there's a degree of acceptance with aesthetic and rendering limitations in Voxels that you either come to terms with and work with, or you just throw it all in there and hope for the best. I prefer the former rather than the latter method.
Ogar mostly respects physics, although there's certainly no rule in the metaverse about this. A lot of artists do the latter type of build ['throw it all in and hope'] so as to exemplify their creativity. Others make a simple and elegant gallery build to display their work. Most metaverse builds are like that. Making 3D vox models isn't for everyone. So yes, it's still pretty much anything built by Ogar that I prefer. You could have a whole Voxels day tour just visiting his builds and talking about them [this would actually take > day -EP].
What's the inspiration behind some of your collections, such as Descendants?
Descendants began with a piece made up of 24 variations on Async art [now defunct], called The Timepiece of Thades. At that time the platform had one type of coded piece that would display a different piece every hour. The Timepiece of Thades was a type of clock with glyphs, found on a fictional planet where the population had died out long ago. Still functional, it was later discovered by future humans.
Essentially the variations are 24 abstract geometric minimalist works that signified the hour of the day. But also found on the planet were 360 artworks, later found to be descended from the 24 pieces. Those are the - you guessed it - Descendants. That's the story. The method of creation for Descendants was: taking each Timepiece variation representing an hour and create its generation. So, I'd alter 1am for example, and then have the first generational line. From that generation, I'd alter again to get its 2nd generation. And so on... to the 7th generation in a descending line with the previous one of course being an ancestor.
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| Descendants #146 Win, 2021 by CMYK (my coll.) |
Temple of Thades in Voxels houses many Descendants.
This was repeated with each hourly piece of the Timepiece of Thades [might be time to shine those synapses - EP]. Discussing this reminds me that I need to write an article on that so it's easier to understand. I was surprised with how many people in the space loved that series. The inspiration for The Timepiece of Thades was most likely the better-known works of Piet Mondrian. I connected that aesthetic to some unknown civilization of my imagination and glyphs of unknown meaning. In fact I spent many years trying to create something Mondrian-like, but original, and it's easy for that to be a losing game. It was only years after, when I'd already given that up - lol - that I discovered my own way by using my typical CMYK colors, combined with a generative approach to glyph creation and positioning.
Let's talk about Ordinals: In my opinion, 2022 to now has witnessed many breakthrough events for NFTs, regardless of floor prices. For example, Bitcoin 'miraculously' saw a rebirth as an 'NFT' blockchain. I have not minted or collected any Inscriptions as of yet, and know that many NFT artist / collectors haven't done so either. As someone familiar with Bitcoin 'NFTs', were you excited to see this historical blockchain event? Or do you even see Ordinal Inscriptions as historical? Also I understand they are not NFTs technically.
Yes, I was excited to see it. I'd always wanted to be able to put my artwork on Bitcoin, but actually on-chain. This term 'on-chain' is often misused these days, but just means the image is existing on a blockchain. Ordinals, or ordinal theory, is itself an interesting idea. It's actually more of a conceptual ownership overlay and way of tracking images that are put in Bitcoin's Taproot. But it works. I do see Ordinals as historical, and I don't myself see a time when miners will decide to prune Taproot because there's too much financial incentive now.
Ordinals will be around for as long as Bitcoin is around, I'd bet a lot on that. I'm hoping to see some innovation with Ordinals in view of animated pieces though, as the heavy size files that more complex work has is just too heavy to mint. It's doable now with large still image files, but something to make minting large file size animated pieces more feasible isn't quite here yet. Hopefully someone in the space will read this and figure it out.
Btw the Generative bitcoin art marketplace is a fav, for me, though I've yet to make a purchase there. Have you released art there?
Not there, I released the generative project Supra-Liminal on MagicEden, but that was before generative.xyz was around, I think. Otherwise, I might have chosen that platform. The early days of Ordinals was a case of mint today and see what you'll be able to do with it tomorrow. There were no guarantees.
That's easily said for Crypto-NFTs in general, lol.
What's your opinion of AI as an art tool? Have you done any AI art?
This one is always difficult to answer, but in general I view AI as a tool that can be and will be used by artists, one way or another. There are a lot of valid arguments in view of AI plagiarism but mostly I think they'll disappear because AI will develop by also using it's outputs as its own dataset. I'd imagine it'll be less and less easy for artists to see their own style from the AI outputs down the line, but not impossible though. If you give an artist a piece of paper and a cup, they will make art out of it. Same with AI outputs.
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| Max Osiris used AI to assist making Drip Wif Pixel Bear (2024) |
Although I have collected some AI art that was purely just an output with nothing altered, I think it's kind of boring to simply mint an output. For most artists it's what you do with it that's stimulating. My first GAN outputs were in 2020 or early 202, but I didn't mint those. I wasn't particularly impressed by them. But there's an AI piece that I altered quite a bit in connection with Warhol and his Cambell's Soup piece... There's also a collab with FTSaroth where we are both using AI, but I animated one side of our collab and altered the image.
"For me the point of art is the ability to successfully translate a mental image into reality."
- CMYK
I have a couple of other AI outputs on Manifold, where I play around with them via glitch with animation. Oh, there's a token on CounterpartXCP called TOMBRAIDER where I used a pure AI output for the central artwork while the card base design is hand worked. I can see myself using AI more in the future when I can carefully control the form of the output. At the moment, what is pictured in my head isn't being produced by the AI. For me the point of art is the ability to successfully translate a mental image into the real world. Without that, it's kind of just a dice roll.
There might be a time, soon, when computers make art entirely - unprompted lol - and the company that owns them owns all creative rights, eliminating the need or want of human artists. Probably happening now somewhere. What do you think of that type of scenario?
Inevitable, and - I believe you are right - no doubt occurring as we speak. If I could train an AI to do a type of style of my artwork, do all the talking on social media, and self-mint it, and also develop as its own artist, I'd do it. But I'd want it trained on my artwork first. Imagine that! So interesting to see what AIwould create everyday, under those circumstances.
For centuries, all of the arts - indeed all of human productivity - has involved and often aspired to mastery, or the highest possible human achievement in this effort or that.
Mastery, it was understood by all, took time and hard work.
But for the first time in man's history this is now not the case, due to the rapid advancement of AI and the people behind it, collectively. What are your thoughts on artistic mastery and the supplanting of it by AI?
That's a really important question. I think it comes down to one simple thing, are you an artist or an entrepreneur, at core? If you are an artist: not working on something, being uninvolved in the creative process in your mind, will bore you to tears. Do I think it'll supplant artistic mastery itself? No, but yes, but no. You see, the more you tell artists "Look, AI can do exactly the same as you", the more artists will throw a curve ball and say, “Yeah, but it can't do this” and show you something you've never seen before.
We have become a part of the AI's Generative Adversarial Network ourselves, in a way. I'd like to view AI as something that will force us to push against more aesthetic and art form boundaries. Some artists will adapt, change and improve, others will continue doing the same style or type of work they've always been doing, but I believe they will still have their collectors as well. I don't think it'll be a black or white outcome.
Do you see yourself doing artwork similar to what you are doing currently, or vastly different, in 3 to 5 years?
I think this question comes down to styles of art, to some degree. My view on different art styles is that it would generally take some years for a trad[itional] artist to work through a particular style or series of works, and that includes the time it takes for those works to get in collectors' hands and hopefully be recognized. We don't have that limitation with digital art, but many times – especially in view of some of the more well-known curated platforms and popular collectors - they expect that without realizing that those limitations are gone.
"It's hard for me to imagine being an artist who is just known for doing one style of work with small incremental changes over their entire life." - CMYK
When I look at my work, there are different threads of work that are moving along in their own line but that also have had some influence on another series of works I'm doing or have done. For example, I've found some tools that have aided a different aesthetic in view of some of my abstract geometric work, and in turn, I've used pixel-editors to create some abstract works rather than drawing each geometric structure in the usual way. I have no clue as to how long each line of work goes on for, nor where it will take me, but that's a good thing for me.
It's hard for me to imagine being an artist who is just known for doing one style of work with small incremental changes over their entire life. I'd also point out that the idea of an artist just doing one style of work is something of a misconception, usually based on the artist's most famous works. So what kind of art I'm doing in 3 to 5 years is as much of a mystery to me as it might be to you, lol.
How long do you think it will take modern museums around the world to dedicate, say, half of their exhibition spaces to digital art, blockchain and non-blockchain?
Half their exhibition space? Wow, that's a lot. I of course have no idea, but if I had to answer that, I think fifty years plus. Sounds like a long time from where we are now, I know. On the other hand I think a quarter of the space with digital art is certainly a strong possibility within the next twenty-five years [10 yrs imo, but he's the artist -EP]. I think the more likely scenario first is dedicated digital art museums. Wouldn't it be more fun?
Indeed. And a very exciting possibility of seeing pieces from collections we own, respectively, in a museum.
Ask yourself, if you were a canvas artist, would you really want your work beside an animated digital work with all the shining-flashing bells and whistles? Probably not. That's why when you go to, say, The Tate Modern in London, digital work or video work is usually sort of segregated in its own room/area.
Great point.
There's also the light issue from screens that can affect the viewing of non-digital art. Once digital art museums themselves exist and the younger generation start going en-masse, that's when I think the traditional museums will pivot harder... but I think they will mostly try to resist it initially.
Hmm, thoughtful point, there. We'll have to wait and see and mint great artworks in the meantime I guess. Thanks for taking time out from work (art) to do this interview, and I look forward to running into you in Voxels sometime!
Thanks a lot for your questions Elated Pixel, very thought provoking. And yes, hope to see you in Voxels very soon!
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| The Temple of Thades by CMYK in Voxels |
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