Hi Dan & Gauthier! What are the most significant data related to market growth? Any assets or actors standing out according to your NFT Yearly Report for 2019?
The volume of unique artworks traded on the blockchain is an evidence of the global growth of the Art segment: from 2,000 to 32,000 artworks in 2019. SuperRare is definitely the Art marketplace that drives most of the growth of the Art ecosystem, and is undeniably above the fray. The challengers are also strong, the art segment is fortunate to be supported by very mature actors.
Was there something that surprised you in the analysis results?
We suspected a lack of secondary market in the art segment, the report confirmed to us. It is one of the first times that we observe this reversal of trend in the purchase of NFTs. NFT Artworks are no longer bought for quick speculation, but more as a long-term investment.
You underlined that digital collectibles and NFT art have different trends, what do you foresee for the future of these assets? Right now, platforms like NiftyGetaway and also CryptoKitties invite established artists to create crypto collectibles, do you think such cross projects and collaborations are going to happen more often?
Absolutely. The growth of the NFT industry will be ensured by two main vectors: adoption of the technology by users, AND by creators. The phenomenon we are currently witnessing and which started a few months ago, announces in our opinion a new era of the NFT ecosystem. More and more creators (Collectibles, Art, Gaming, etc.) will be able to use NFTs as an expression Medium. Regarding art and collectibles trends, it is extremely tricky to predict the future of these segments, but everything suggests that Collectibles still have a bright future ahead of them, even if their market share is gradually declining. Art is gradually positioning itself as one of the potential main growth vectors for the entire NFT industry.
In the NFT panorama, crypto art still represents a small slice of the whole market. Can you tell us how the market is divided and why art seems more of a niche asset?
The NFT industry is still largely dominated by Gaming & Collectibles (about half of the ecosystem), Real Estate, Trading Card Games and Domain Names also represent massive use cases and an important part of the space. The golden age of NFT began with Cryptokitties and Decentraland, two Collectible and Real Estate projects, both of which gave birth to other projects exploring the same use cases. From a historical point of view, NFT Art is a recent use case, which still seems reserved for an elite.
You recently got a new investor at NonFungible, Polyient Labs, what are your plans for the year ahead?
We are extremely happy to count Polyient Labs as Key Partner for the continuation of our development! The gold mine of data that we have been collecting for more than two years now only needs to be exploited! Polyient will help us develop the tools and functionality that will allow any NFT project manager to monitor the performance of his project, but also to help players and traders to evolve more serenely in the ecosystem of NFTs, knowing precisely and in real time the exact value of assets.
Do you think the current global crisis or Ethereum's higher gas prices will affect the NFT market?
Yes and no. The NFT ecosystem survived the Global Ethereum Clogging caused by Cryptokitties craze in late 2017, early 2018. The projects that will last and that require heavy interaction have already implemented solutions as a result of the 2017 craze, other projects that fail to innovate will lag behind and fade out as we've already noticed
PS: The 2018-2019 NonFungible Art Report is available HERE
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.