Editorial is open for submissions: https://bit.ly/3aCuaEE
Today’s Top 10 comes to you from the keen eye of Arseny Vesnin. Founder of Designcollector Network (2003) and curator of the Digital Decade initiatives, exhibitions and online collaborations, Vesnin is an interdisciplinary mediator guiding artists and communicating the future of art. Based in St.Petersburg, Russia.
Krista Kim x Dirty Robot present: “Mars House: 3 days and 4 nights.” This is an illustrative story following an interstellar couple who take off for a weekend getaway to Mars House for healing, connection and an epic party. This NFT story has 7 parts, dropping everyday between Monday April 26th to May 1st. The complete story of 7 NFTs are offered as one complete body of work. Krista and Dirty Robot are fans of each other’s work with a common love for Manga, Tokyo and Japanese culture. Krista lived in Tokyo for 4 years and Dirty Robot is based there. They decided to begin working on this collaboration a week before Mars House was launched last month. The concept was to create an illustrated story, featuring Mars House as a protagonist. Mars House is a place of healing, inspiration and dreams. We wanted to capture memorable moments of an interstellar couple at the most iconic NFT house in the galaxy. We hope you enjoy following this project as much as we had creating it. Proceeds are donated to the Continuum Foundation to support healing and mental health initiatives globally
DC: If you could go back and do one thing differently, what would it be?
FB: I would go back and laugh on people who told me to stop what I’m doing. 😀 I still remember that one time I went to a portfolio review, printing all my work for a lot of money and showing it to a “famous” curator. She said I should stop doing Photoshop and do only Photography, because what I do cannot be taken seriously. I remember crying and being very insecure and hurt. I felt something inside me which was all against her opinion and I continued with what I felt like was my path and my true authentic self through creating those self-portraits. Many times I thought about creating less colorful, more minimal artworks but that would be forcing a style which I’m not – just to be accepted and fit into the current trends, so I said F it, I will do what my “sixth sense” is telling me to do.
DC: Tell us a little about your work
DA: Back in 2015, I created Ultra – Fusion, a seven minutes long animated loop. It was my follow-up project to Zombierina and my second sculpture after I’ve decided to focus more on the aspect of sculpting and sculpture in virtual space, rather than doing character animation. Being able to delve into form, light, texture, and materiality with all its artificial intensity was a very appealing experience for me. Now six years later Ultra – Fusion making Its way onto the blockchain through a nonfungible token, or NFT.
DC: You directed a photography set for Daft Punk back 2008. Was it a second breaking point in your career after Sony Playstation projects? How does it influence your way of doing work now?
DD: Yes after winning many awards with Playstation, Daft Punk was effectively a breaking point for 2 reasons. Artistically it opened me doors to the music industry and I was able to shoot with bands like Black Eyed Peas. Technically because I was including a human cgi model in my images for the first time, it wasn’t very common at that time, and that was a new step for creating images.
DC: Tell us a little more about the Dystopia project?
AC: Dystopia # 4 is a new episode of the Dystopia series. This series is based on photogrammetric data of real objects located in different places, which are brought together in one video to form a non-existent place with archetypal features of the original spaces. I started this series in 2016 and continue to create new episodes.
“My artwork is not straight up darkness. It is not straight up evil,” he said. “It is flipping the notion of what macabre and terror is into something that can be classed as beauty.”
DC: Did you have an “Aha!” moment when you knew that sculpture and arts were what you wanted to do?
WHN: Historically sculpture was related to a lot of manual labor and years of practise due to limitations of materials and tools. Nowadays a lot of it is done on a computer using 3d software and 3d printing. I think my biggest “Aha!” moment was when I realized that I am skilled enough to create my designs in 3d as well as turn them into a physical 3d model. That was a total game changer for me. It affected my future decisions of creating more art. The second part was to learn everything I need about the physical production of editions ie. Mould making, casting, finishing etc. Luckily I already worked with artists and managed to learn quite a lot from them.
DC: As a creative person, do you ever have those moments where you feel like everything you create is just shit?
Schoony: Whenever I finish a piece of work I have a period of self doubt. My work takes significant time and effort to produce which means you have to maintain enthusiasm the whole way through. If you lose that drive you can find a piece being left to the wayside.
I have a lot of admiration for film producers because they have to keep up that enthusiasm for years. The trouble is, the longer you work on something, the longer you self critique and the doubt grows.
In many countries, violence is used to impose ideals, religions or politics over the freedoms of individuals. This film seeks to assert that violence should not ever be imposed on the rights and education of people. Freedom is our most valuable asset and is our best weapon.
Impurity. The ultimate sacrilege, the inevitable taint of man. Impossible to cleanse. A thin veil – shrouding all, concealing nothing • This digitally created sculpture is based on the classicist work of Giovanni Strazza (1818 – 1875)