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  • Australia

Giant Swan is a Melbourne-born virtual reality artist who creates alternative realities at the cutting edge of a new medium. His work has progressed alongside VR creative tools to control digital art using his recorded full-body movement, borrowing from mediums like painting, sculpture, and animation. His artistic influences are wide and varied, building from a life growing up in state parks to pop culture and video games mixed and Melbourne’s punk and hip hop scenes.

Giant Swan has collaborated with multiple Lo-FI and Hip-Hop Producers, exploring colorful, wondrous and ambient worlds populated with somber and thoughtful moments that encourage patrons to experience the moments themselves as an active presence in the scenes. His work appeared behind The Smith Street Band’s set at the 2017 Falls Festival and in December 2019, he was part of the Greenbank Art festival at the Modern Art Museum in Shanghai. async.art






"I’ve chosen Frenetik Void as we have recently spent time together working on a collaborative piece, Transitions. During the collaboration we didn’t speak much, so now I have even more questions about his art than I did before!” 

G: What influence does where you are from have in your art, if at all? 

F: I don’t think my city influenced my work until now. I lived in a countryside neighborhood, an emotionally closed teenager focused on his private, internal reality, a bit detached from the rest. I don’t touch many social issues as I’ve never felt close to them. I had a privileged life and I need to be honest about what I feel.
Now that I’m on my own, “reality” feels closer, so I’m dealing with that - although I admit relationships and human psyche still is what gets me going. 


G: How does the crypto scene differ from other audiences and how they interact with your work?

F: The fact that the piece becomes unique changes the whole perspective of interaction. We artists all want to live for and from our art, and now it turns out it's possible. There’s a new flavor in creating and collecting that adds purpose.
Real collectors looking to “own” the piece may enhance the disposition of the individuals to learn more about works and artists themselves. That hardly happens in other digital platforms. 


G: How has your artistic process evolved over the last few years?

F: I see it as a sort of personal diary, it follows how I grow up with some clear breaking points, as the emancipation from my family. Each piece takes me back to my life context at that precise moment. They’re pieces of me, ha ha.
I guess I’m a bit obsessive about balance now. Pieces must balance my internal chaos, although I sometimes release raw work to tease myself a bit – regularity bores me. I like complexity, the ever- changing doubt of “what comes next?” with an unclear narrative unfolding. I have things to say that I can’t express with words. That's also the point. I leave it to whoever wants to dive into all this. 


G: What do you get away from art, if at all?

F: A glimpse of freedom.  


G: If you were offered an opportunity to show your art in a gallery tomorrow, which of your pieces would you show and why?

F: It obviously depends on many factors. Today, these are a few of my favorite or what I feel are my most “achieved” artworks:



Si cae me muero   





Torture of the jealous

Each one is a strong point in my work where they condense many aspects of Frenetik’s narrative.



"I’d like to nominate Giant Swan because his work is bleeding edge and always intense!" 


X: How long do you spend in VR on a daily basis? Do you have a limit on how long you spend in there before coming out?

GS: I try to spread my workload across the week as evenly as possible. Every second day I’ll use VR up to 7 hours at the very least, in blocks of 30-45 minutes.
Eye health is real, gotta look after them!


X: What’s your favorite piece that you’ve created and why?

GS: An entry into last year’s Inktober scene was inspired by the prompt “RIDE.” It was already late in the build and there was an early self-portrait in there that I absolutely hated, I would always sneak over to it and change it a little more. When I got to the prompt “ride” I realised I had to stop riding myself about it. I ended up making an entry of myself sitting on the shoulders of that first sketch I detested and learned to let it go.



X: How do you see crypto art evolving in the next few years , is there anything you’re hoping to be able to achieve with this technology? 

GS: I'm looking forward to minting my own experiences that give collectors access to my worlds the way I see them. Stay tuned, it's much closer than you think.


X: Have you ever hit a wall creatively and how do you deal with those situations?

GS: Creatively, I hit immediate walls when I complete something in my head before I'm physically done making it. Discipline can get you through those moments, but I'm often pushing to use them as a challenge: if I'm already done with a piece, then this isn’t rich enough. That’s why my work is often paired with detailed titles and cryptic notes. These are the pieces that are still growing for me even after I’m done with what you can see.


X: What’s your favorite quarantine food?

GS: Vegemite toast and a coffee. Three slices and make it a double shot while you’re at it.