“Thato’s extraordinary works have been charming since the first day I came across the crypto art scene”
P: How do you define yourself in the crypto art scene?
T: I’m describing my experience of interfacing with ideologies and theories through minimalism and complexity.
P: Your creations have a sublime geometric balance. What do you call it?
T: I use balance to convey and evoke emotions, it gives order and serves as the narrator. I don’t have a name for it yet.
P: Patterns in your work are impossible to unsee, what about the process behind them?
T: The Turing patterns are based on the Gray-Scott model which can be simulated in Photoshop, Blender, C4D, Houdini, Max/msp, Rhino and many other programs. I’m currently exploring the patterns in Touchdesigner.
P: As a crypto artist with a design background, where do you see yourself fit in more, as “designer” or “artist”?
T: A bit of both, design often demands self-control while art gives more freedom. I use self-control to explore artistic freedom.
P: The simplicity and pureness of your work makes me wonder what it is like where you live. How is your real-world experience compared to your creations?
T: Johannesburg is beautiful, chaotic, noisy and wild. Art is my refuge, I can create order when I’ve lost control and complexity when things get too quiet.
Lawrence Lee, acclaimed Contemporary Southwestern artist, and Bård Ionson, coder with a keen eye and an artistic bent, have begun a fascinating journey of collaboration that melds paintings with modern artificial intelligence technology.
Lee’s “magic people” inhabit a separate reality that seems to be of another world--a multidimensional one. By combining one of the original human creative outlets, painting, and advanced math with new technologies, a multitude of mages, seers, shamans and sages has been born.
This is a creation built on a lifetime of Lee’s creations at the easel. Bård used over 250 Lee paintings to train a machine learning / artificial intelligence system and used his own creative skills to perfect the output of the software and to curate results. Lee then worked to identify the best of the generated images and used his digital painting skills and immense creativity to improve on what Bård produced. With each iteration, new possibilities were revealed, and the pair are excited by the prospect of further development, incorporating new technologies as they become available and following the lead of some of the images produced thus far into new, previously unimagined areas.
Bård is now taking the improved results to teach the AI model all over again.
Art will be sold on SuperRare. Please find these Shaman works we call Convergence on SuperRare on the profiles of Lawrence Lee and Bård Ionson
The goal was to expand the creative palette like a hallucinatory dream. Controlled by Bård with training selections, the AI produced a googleplex of possible random outcomes. Lawrence and Bård have hand-selected the best of each production run from the machine, and Lawrence has worked to unearth these new shamans and the landscapes they inhabit by enhancing them further and augmenting their otherworldly qualities in an attempt to better understand their roots and to release their powers.
Ionson and Lee will be releasing the series of images created, called Convergence, as weekly package drops of three still images and one video on SuperRare. Find them starting on June 23.
Convergence Ab The Bård artificial intelligence version | Convergence Ab - After Lawrence Lee turns it into art.
Lawrence is one of the small number of fine artists in the space of tokenized art because he is always looking for ways to expand and learn new things. He has been a professional artist for over 40 years. He is one of the original adopters of non-fungible tokens on SuperRare for his digital art. In addition he has created computer art from early in the personal computer age.
Bård Ionson is an artist who is relative to Lawrence, a beginner with art but has spent a career working with computers and programming. He is now creating digital art and video art using oscilloscopes, scanners and artificial intelligence technologies.
As part of Decentraland’s Genesis City Art Week, MakersPlace will be launching their first ever gallery in Decentraland this Friday June 26th, 2020.
The grand opening of the gallery will take place at 1 PM PST (8PM UTC) and will include a special exhibition featuring 14 MakersPlace artists, 3 talks from artists on their artwork and digital art in general (George Boya, Gala Mirissa, and a joint interview with Indrani Mitra & Fabin Rasheed), an Ask Me Anything with Katy Arrington and Javier Arres, an auction for the collaboration artwork created by Katy Arrington and Javier Arres, and a virtual scavenger hunt with NFTs up for grabs.
“I decided to continue the chain with Pak as we had a collaboration in progress, but it got temporarily halted due to the global situation. I really admire Pak as a creator and the tasteful worlds he generates, and I know many others do as well in the community!”
M: As digital artists, we all have a preferred software/tool we use to create. Your work is really thoroughly thought out and quite technical, have you thought about what role the software you use plays in the final look of your work, and how would it look if you had to switch to another medium, like painting, for example?
P: I see software as an expansion of the human - like an additional arm or leg. They affect our capabilities. As a result, our way of thinking and methodology. Therefore, to me, medium and methodology are overlapping subjects that are defined with their limitations.
M: Are there certain aspects of the medium you use that excite you the most?
P: I do not have a primary medium anymore. My works are becoming more cross-medium. Overall, limits excite me.
M: What got you into selling your work on crypto art marketplaces and how do you see this space developing in the future?
P: As I once stated, I define myself more as a designer and less as an artist. However, a design client needs the work, whereas an art collector wants the work. Sometimes it's better to be wanted, than needed. Beyond this, crypto art is the future's art history to leave a trace in.
M: Name one book, one song, one artwork that you really like or that inspires you, or just purely represents your being.
P: Improbable singular answer...
M: A new skill or activity you want to learn to do or start doing in the near future?
P: I don't pre-define the skill sets I prefer to dive in, but rather, try to keep planned projects. I'm sure the next project will expand my skill set in many branches however it's not easy to label any of them before the encounter.
VR artists have alway found it almost impossible to sell the artwork they produce, this is partly due to the nature of creating digital assets. Now with the emergence of Blockchain tech and rare digital art this is no longer the case.
Rosie’s debut artwork My Reality sold for 0.90 Ethereum to two digital art collectors. This limited edition self-portrait was created in Tilt brush & reflects her love for performance and world-building. You could say Rosie has ditched the paintbrush and canvas, for a controller and another world.
Virtual reality have seen a massive spike in adoption in 2020 with Oculus reporting it made $297 million in non-advertising revenue during the first quarter of 2020. This is just anther signal that VR is finally starting to fulfil its potential.
In 2020 over 42.9 million people in the US will use VR, and 68.7 million people will use AR at least once per month.
Platforms like KnownOrigin.io are making it easy for VR artists to showcase and sell the incredible artwork that they create. Rosie is one of the leading VR artists, listed in the top 25 most influential women to follow in #VR and has performed live VR paintings at numerous festivals and events for clients including Google, National Football Museum and Manchester Animation Festival.
Virtual Reality has been around for well over 2 decades and digital art even longer but now with the acceleration of VR adoption and the emergence of digital scarcity these two factor have the potential to be a game changer!
A recent year-end report by NonFungible.com, the leading data provider for the Digital Asset/NFT industry, the total market capitalization of all NFTs (non-fungible tokens) stood at roughly $210 million in 2019. The report suggests this number could grow by as much as 50% in 2020 to $315 million.
The future of virtual & digital art is very exciting and we are now seeing the value of these pieces with collectors sending $2000+ for a single artwork. These early examples of this new art movement can be viewed on platforms like KnownOrigin, these new online platforms that are utilising blockchain tech to authenticate, verified and track the chain of custody could well be the future of Art as we move ever faster toward a digital world.