In Conversation with MABLAB

In Conversation with MABLAB

Dec 9, 2022 Art / Artist Conversations

“CHIMERA WHALE” by MABLAB, 2022

In Conversation with MABLAB

Linda Dounia Rebeiz
1 year ago
The history of Eurasia is a collective history between Europe, Asia, and the Middle East, a history of shifting borders and ideologies. From the early years of the Silk Road to the spread of alphabetic writing, the people of Eurasia have always found ways to connect, even amidst the rise and fall of the earliest nomadic communities, and through mighty empires and kingdoms. 

In 2022, many countries within Eurasia felt the ripples–if not the direct impact–of major shifts in the sociopolitical landscape. Russia invaded Ukraine, setting the stage for other leaders to speak of “taking lands back” into their possession. Demonstrations exploded in China and Iran, pushing back against COVID policies and widely unaccepted gender norms, respectively. Amidst the challenges facing the landscapes of Eurasia today, the people of this vast region have shown their fortitude. Politicians became soldiers, families became shelters, and artists continued to tell the stories that helped the rest of the world connect to their struggles, and their aspirations.

MABLAB is an artistic duo from Kazakhstan. Two sisters with professional backgrounds in architecture and arts, Madina and Ainura began their practices from an early age, and spent most of their lives honing skills in various fields of artistic expression. Having studied at the world’s leading art schools, such as Central Saint Martins, London, Gerrit Rietveld Academy, Amsterdam, and Staedelschule Academy, Frankfurt, their love for the arts led them to pursue a career as full-time artists. 

Stemming from their Master’s thesis research in architecture, their works explore the themes of architectural Interface. They create their works through a process of experimenting in different mediums. Using 3D hand sculpting and digital hand drawing techniques, they create unique carved architectural spaces, landscapes, textures and metamorphic forms. Being exposed to different cultures and having encountered space and distance in their lives, they transform their experience into artworks that push the boundaries of the perception of space.

In addition to creating art themselves, MABLAB has also curated the exhibition “Mapping Web3. Eurasia.” on SuperRare.

“Grace” by Hrant Khachatryan, 2022. From “Mapping Web3. Eurasia.” curated by MABLAB.
Linda Dounia Rebeiz: Where are you from? What are some fond memories you have of it?

MABLAB: We are from Kazakhstan. Kazakhstan is the world’s largest landlocked country, a transcontinental state at the heart of Eurasia, it is located in Central Asia and Eastern Europe. Our rich historical and cultural heritage includes the era of Nomadic tribes and empires, the Silk Road, the Mongol empire and a recent Soviet past.

At the time we were born, it was a part of the Soviet Union. In our childhood, the Soviet power had collapsed and was replaced by 15 independent states, including Kazakhstan.

Even though the country went through economic failure and drastic changes in the lives of millions of its citizens, we keep fond memories of our childhood. Our parents were struggling to survive in the chaos of the ‘90s, but our home was filled with love and care for each other. During that time we tragically lost our father which was one of the reasons that brought us even closer as a family. Some of the best memories are closely connected with our grandparent’s home, as they were helping our mom to look after us while she was working. Thinking of it now, we understand how blessed we are to have had our parents and grandparents provide us with so much care and love during those difficult times our society went through. The generations before us, including our parents, were focused on surviving and providing care for us, giving us love and directing us towards a focus on our art practice and study, as they understood it was the best way to keep moving forward.

LDR: Where do you live now?

ML: We are now back home in Kazakhstan. We spent more than a decade studying art in art schools abroad such as Central Saint Martins, London, Gerrit Rietveld Academy, Amsterdam, Staedelschule Academy, Frankfurt and Cambridge School of Art, UK. We came back home before the start of the pandemic having the plan to continue our career in art and architecture academia abroad because the art scene in Kazakhstan is not very well-connected to a global west-centric art community. We always had a dream of creating an art studio together although we never came to it before the pandemic. We found ourselves locked inside the country, so we decided to use quarantine as an opportunity to continue our artistic practice as a duo, and later joined the NFT space in June 2021.

After joining the NFT space we realized that this is a great way of continuing our artistic practice together without sacrificing the comfort of being home and having a natural chain of support from our family and friends. For the first time in our lives, we didn’t have to make difficult life choices, spending an enormous amount of effort, energy, and years of life as well as personal finance to be physically present abroad to stay connected with the global art scene in the centralized west-centric environment.

“AMBIENT” by MABLAB, 2022
LDR: Tell us about your art practice. Which topics do you address? What mediums do you work in?

ML: We have been experimenting with different mediums since we were very young. Our experiences and education abroad, as well as our life in Kazakhstan, helped us enrich our work and understand the subtleties between cultures and art practices.

All our work is based on architectural research in depth called project Interface which started as Madina’s Master’s thesis research in Architecture.

The project is developed around the idea of the Gestalt theory. The main idea of our work is the phenomenon of architectural space. We see space as a phenomenon that exists in the universe or anywhere where human perception can wander.

We focus on the idea of architectural space, enhancing the experience and perception of space within the concept of architecture and spatial design, all based on our experimentations and learnings.

Using 3D hand sculpting and digital hand drawing techniques, as well as other multimedia techniques, we create unique architectural spaces, landscapes and metamorphic architectural forms to enhance the moments of interaction, pressure, contact and proximity between the parts of the space.

We have also experienced space and distance in our lives and we focus on transforming our experiences into unique artworks that push the boundaries of the perception of space.

LDR: What art projects are you currently working on or looking forward to working on?

ML: We have been active in the NFT space for quite some time now, and have experimented with different platforms, exhibition spaces (online and offline) as well as outdoor experiences. Each one of those initiatives, from a simple drop on a marketplace to a screen in Times Square, has continued to make us explore space and our relationship to it, whether it is a physical space, an online space or a metaverse space.

Within our concepts, we create architectural space and bring it into an abstract dimension. This abstract dimension in many senses, for us, resembles the idea of cosmic space, a space with no gravity, and no point of reference, it helps us to push the boundaries of perception of architectural space.

Since joining the NFT space, we have been fascinated with the idea of the digital space of Web3. With our own experience of space, in our work and our lives, we feel a great connection with the digital revolution and the opportunities that the technology of Web3 brings to artists and creatives from around the world. That is why some of our work is focused on a concept that explores the landscape of the growing metaverse, where we want to focus on visualizing different stages of the creation and expansion of the digital space of Web3.

“Shirzan” by Nedtzo, 2022. From “Mapping Web3. Eurasia.” curated by MABLAB.
We feel that the themes of architecture, space, and landscapes are ingrained into the nomadic culture, the culture we come from. Through the depths of our roots, we have this unique connection with space, distance, travel, and proximity. The Web3 space evoked feelings of the infinite stretches of land of Kazakhstan. We want to map Web3 with our landscapes and create our geography and topography through our vision.

We believe that with the expansion of Web3, the digital revolution will redesign the usual perception of space around us. We want to share our experience with the world and let the viewer explore the space and the landscapes we create without physical constraints.

LDR: In your lifetime, how has the socio-political landscape in your country changed, from your perspective?

ML: The oppression of Soviet rule left a big scar on the state of our country. From the famine that destroyed 40 percent of the population caused by decisions made by the early Soviet authorities to the persecution of the cultural elite and suppression of the Kazakh culture including our native language, literature, arts and crafts, and even some environmental catastrophes.

 

Since gaining its independence from the Soviet Union, Kazakhstan has made significant progress towards creating a market economy and reclaiming its stands and legacy in cultural, social and economical areas. At first glance, the gap between a developing country like Kazakhstan and any western country is not that large. People can open businesses, travel or study abroad, and build international connections.

However, after the break of the Soviet state, the power in Kazakhstan was inherited and held by the descendants of the Soviet system. This led the country to fall under the rule of a dictator for 30 years and was only stopped by the dramatic events of widespread civil unrest in January 2022.

The censorship imposed by the dictatorship held the areas of arts and culture under control, which left these areas somewhat disintegrated from the global scene.

LDR: Have you or those close to you experienced these changes in particularly challenging or rewarding ways?

ML: For us and our family, these socio-economic changes became very freeing and allowed us to live and study abroad, pursuing our art career and education. The new political system is very different from that of the Soviet past. Our country is a democratic and constitutional state with free access to information, global markets and digital space. Our economy is an integrated part of the global economy, as well as the whole socio-economical life that is now a part of many international conventions and agreements. The development of our economic system provided many people with opportunities for sustainable growth of society.

However, after more than 30 years of independence from the Soviet state, sharing a mutual past as well as the longest landlocked border with neighboring Russia still presents a challenge to our political, economical and demographic areas. The war in Ukraine put the whole Eurasian region under a lot of economic and socio-demographic pressure, causing high inflation, currency devaluation, and logistical impediments to imports and exports. The businesses in Kazakhstan went through extreme pressure, almost losing their partnerships worldwide because of the broken logistic chains. A major part of our economy and a considerable part of the international supply, the Kazakh oil and gas industry is also experiencing a lot of issues. All this caused a spike in the average cost of living in Kazakhstan. The Russian-speaking media space also became a source of constant propaganda attacks and threats towards Kazakhstan from the current Russian regime, giving an example of the war in Ukraine as to what Kazakhs may expect in the future. Some of the major Russian politicians openly claimed that part of our land should belong to Russia. Meanwhile, millions of Russian citizens left their home country and came to Kazakhstan to escape their current regime and political situation, which added to socio-demographic pressure, also causing a spike in property rent prices.

At the same time, the majority of people in Kazakhstan are genuinely shocked and saddened by the war in Ukraine. A lot of Kazakhs have been supporting Ukraine by any means available, including humanitarian help, voicing our concerns in Russian-speaking media space and actively supporting the Ukrainian refugees who have also arrived in Kazakhstan.

We firmly believe in the freedom of choice and political rights of every person and a country as a whole.

“INTERSTELLAR” by MABLAB, 2022.
LDR: What hopes do you have for your country moving forward? What do you hope stays the same? What do you hope evolves or changes?

ML: Since the massive civil unrest in January 2022 which entailed the tragic deaths of some of the people who stood up against the dictatorship, the Kazakhs, as a nation, become even more united in our will for civil liberties and political freedoms. The new president has announced political and economic reforms that should bring positive changes to the country’s economic and political lives.

We already feel that these changes affected our freedom of speech and expression, allowing more space for any person to freely express their opinion. We hope this will also bring our culture to a new light and elevate our cultural life, including such areas as arts, literature, new media etc. Kazakhstan is the home country of many talented creatives and intellectuals, many of whom had to choose to bring their careers abroad during the dictatorship era. We think these changes will positively affect the life of the art community in Kazakhstan, and help the artists have more freedom in expressing themselves in different genres of art, including the contemporary art scene.

We also hope our country’s institutional and legal reforms will bring down corruption and use the benefit of having rich natural resources to improve the quality of life of its citizens. In the digital world, Kazakhstan is one of the top two mining hubs for cryptocurrency, so we look forward to our country embracing the rest of the opportunities that the digital revolution has to offer. Technology can empower people and society and pave the way for many talents to bring their concepts to life.

On average, people in Kazakhstan are already living in a highly digitalized environment, so we believe that digital progress can allow us to better integrate into a global society on national and personal levels.

“Cold Arms” by Ina Vare, 2022. From “Mapping Web3. Eurasia.” curated by MABLAB.
LDR: Anything else you’d like to share?

ML: We wanted to say that we are deeply grateful for the opportunities that the digital space of Web3 has provided us. To have been doing art all our lives, since early age, and for the last 30 years, there have always been challenges to continue an art career in a pre-NFT era, especially if you come from outside of western world. We think that the digital revolution enables people from different parts of the world to bring their visions to life, share it with the world, and build communities that empower the voices of artists and creatives. Art and science have always walked shoulder to shoulder, bringing progress into human lives, and to think that we are now a part of this movement at the avant garde of the new wave of technological progress inspires us every day. It inspired us to create our work to explore how intertwined we all are within the landscape of Web3 cultures and to curate the project “Mapping Web3. Eurasia.” to show how our cultural identities can be displayed and interacted within a new global space.

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Linda Dounia Rebeiz

Linda Dounia is an artist, designer, and curator based in Dakar. She is interested in how technology reinforces systems of inequity, investigates the philosophical implications of technocapitalism, and dreams of solarpunk, degrowth, and decolonized futures. She is a curatorial editor at SuperRare.

Art

Tech

Curators' Choice

You are now entering the FVCKRENDERVERSE

You are now entering the FVCKRENDERVERSE

Sep 2, 2021 Artist Profiles

FVCK_CRYSTALS

You are now entering the FVCKRENDERVERSE

3 years ago

Frederic Duquette is one of the most successful and well-known artists to step into the NFT space, and he has created some of the most exciting 3D artworks and collections available. From intricate and futuristic one-of-ones to crystalline collectables to an entire virtual universe, Duquette’s work has pushed the boundaries of what is possible with digital art.

Some of you may have guessed by now that Duquette is the artist known as FVCKRENDER. Based in Vancouver, he has premiered digital work on Nifty Gateway, Open Sea, and SuperRare, collaborated with fashion brands Dior and Supreme, and he’s even made visuals for Lil Nas X.

Stills from “BROKEN_BEAUTY“

But before all the fame, the fortune, and the fvck, Duquette was just a skater boy who never finished high school.

Duquette applied to art school in Montreal at the age of 20 to study 3D design and animation, “and they didn’t care [for my application] at all,” he told SuperRare, “which made sense because I didn’t finish high school.” So he began creating artworks on his own, and once Instagram launched and, at the time, became the ideal platform for artists to display and market their work, his career really took off.

“I was fortunate enough before NFTs to have so many amazing clients. I was able to build a community on my Instagram where I reached about maybe 300,000 followers? Which really helped me get in contact with different artists. And most of the time the artists contacted me on Instagram, saying, ‘I need visuals for my shows or for a music video, or anything.’ So I was just sending them to my manager or my agent to help me filter everything out.”

Then at age 25, Duquette revisited 3D art and animation. The NFT market, which just happened to be booming, was a natural next step.

Left: “GEODE,” Right: “THORNED“

Fvckrender’s artwork is super detailed. His subjects are life-like and yet alien, often inspired by the tension between nature and technology. The human subjects, which he uses sparingly, appear glossy, chalky, or ephemeral. Sometimes we see only faces; sometimes we see only hands. The natural subjects, like flowers, dragons, scorpions, and gems, tiptoe around reality, and are oftentimes injected with a dose of the unexpected: a strange texture or an out-of-place color scheme. 

Some of his artworks, including “GEODE” and “THORNED” look and feel like they could be 3D snapshots of a dystopian future without humanity, a future where only relics of the past remain. In pieces like “VIVID_DREAMS” and “SUBMERGED” we see subterranean, statuesque human beings who are unable to open their eyes. We asked him, where does humanity live, or how does humanity function, in the world he has created?

“To me it’s more like a sense of reconciliation–that’s not exactly the word–but yeah, I think the work is more about being attached to something, rather than pondering what humanity will be like in the next generation, if that makes sense.”

Left: “VIVID_DREAMS,” Right: “SUBMERGED“

Which is an interesting concept, considering so much of Fvckrender’s work extends beyond the modern world of NFTs and into the future of the metaverse.

In addition to frequent drops of digital art in both NFT galleries and on Instagram, Fvckrender has launched FVCK_CRYSTAL, a series of 4169 3D collectables that allow the buyer to attend events, participate in raffles, and explore specific areas of the FVCKRENDERVERSE. 

What the fvck is the FVCKRENDERVERSE, you ask?

Left: “PERSONAL GROWTH,” Right: “GENERATE“

It’s a computer-generated virtual experience that goes far beyond the 2-dimensional axes that are characteristic of the internet and social media. Yes, you can see the depth in the piece as it moves before your eyes, but you still see it flatly, usually in a grid on a screen. The FVCKRENDERVERSE is immersive and multidimensional. Not only are users able to view the artworks as if they were walking through their favorite section of the Met or the Louvre, but they are also able to participate in scavenger hunts that reward them for looking at the art, and the world, more closely.

Like so many artistic projects, the idea for FVCK_CRYSTALS spawned from an act of rebellion.

“Honestly I felt like a lot of people in the NFT space were always asking for utility in my art, and I found it annoying at first. I’m not a game designer, or whatever, and it was kind of starting to bother me that people needed to feel like my art had utility. So I decided to separate them. [I sort of put] my art on one side, and [put] my focus onto the collectables. So if you’re a collectable junkie, you can go collect FVCK_CRYSTALS now, and if you’re an art junkie, you’ll go collect my art on SuperRare or OpenSea or wherever. So, it was mainly to disassociate my art from utility and it was a way to allow people to enjoy both at different times.”
FVCK_CRYSTALS

Some collectors might not care whether an artwork has utility, but for others who are interested in spending more time in virtual or augmented reality, this project sets the stage for many more to come.

For someone who didn’t vibe with school and who taught himself both how to market himself on social media and how to make 3D creations, Frederic Duquette, aka Fvckrender, is a force to be reckoned with. His vision, creativity, and drive have pushed his art into new dimensions, and indeed, into new worlds. What unexpected turn will his career take next? You’ll have to step into the FVCKRENDERVERSE to find out.

32

Virginia Valenzuela

Vinny is a writer from New York City whose work has been published in Wired, The Independent, High Times, Right Click Save, and the Best American Poetry Blog, and in 2022 she received the Future Art Writers Award from MOZAIK Philanthropy. She is SuperRare's Managing Editor.

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Julian Brangold: Aesthetic of Uncanny Realism

Julian Brangold: Aesthetic of Uncanny Realism

Oct 1, 2020 Artist Statements

Editorial is open for submissions: [email protected]

Julian Brangold: Aesthetic of Uncanny Realism

Julian Brangold
4 years ago
Julian Brangold is a multidisciplinary artist whose artistic research looks into the ways in which technology rewrites the definition of what it means to be human. With a background in film and video art, his work explores a wide spectrum of media including video game engines, online databases, digital imagery and artificial intelligence to create critical spaces in which technology and aesthetic production can merge to open up new pathways in thought and experience.

I studied film direction in 2004 in Buenos Aires, and the subject I was into the most was Video Art. After a trip to Europe and some exposure to visual arts, I decided I wanted to be a painter. Fortunately, I was fairly successful quite young and was picked up by a small gallery. I was exclusively a painter for a few years but became frustrated with the gallery system and the art world in Buenos Aires. I moved to Berlin where I started tattooing for a living and researching new mediums and materials to reinvent my art practice. I came back to Buenos Aires and reformulated my whole art career, going into new media, technology, 3D art, and the cryptoart space.

Skies _ 1
Edition 1 of 1
6000 x 6000 px. from the series “Lost Memories, Found Comparisons”

I see my art practice as a research and inquiry tool. I stopped understanding art practice as expression and realized that art is a way to ask philosophical and social questions and to elaborate ideas around certain impacts in society and the individual. My process begins by investigating image or from some sort of premise or question that I’m trying to elaborate on. I’m constantly thinking about the ways in which technology redefines what it means to be human, and art is the tool that I use to understand that phenomenon. Ideally, my images create experiences that make people question their environment and their relationship to technology. 

Multiples
Edition 1 of 1
6000 x 6000 px. from the series “Lost Memories, Found Comparisons”

I began my research in 2D because in that series of works the hand-drawn factor was very important and part of the investigation had to do with a mixture of human handmade things and digital resources and possibilities. Recently I’ve been thinking about the different degrees in which the digital is part of reality. How real is the virtual world? How real is a 3D rendering? I mean, of course, it’s real, but how much? What’s the measure of these “levels” of realness? So I decided to go into the 3D space to explore this aspect of the digital as an object that exists in the broader philosophical sense. I also like the poetic speculation that arises from inserting these historical pieces (3D scans of archeological and cultural discoveries) into these pristine or destroyed but evidently digital spaces.  

Place of birth
Edition 1 of 1
6000 x 6000 px. from the series “Lost Memories, Found Comparisons”

Coming from a traditional gallery system, it’s been a journey (it still is) to adapt to this whole dynamic. As I consider myself a researcher on the topic of technology, I love this whole experience. Even the hardships that arise at times. I think the crypto world has a real potential to make a huge difference in the AFK art world. My personal experience so far has been surreal, especially community-wise. I’ve made a crazy amount of friends in the past months and was lucky to be invited to the Cryptoarg community, an incredible collective of artists from Argentina. Right now I’m very invested in the whole crypto space and look for a long-term engagement as these platforms develop and grow. I was very lucky to begin my career as a cryptoartist in SuperRare, where the support from the platform and the collectors have been very present from day one.

Skies _ 2
Edition 1 of 1
6000 x 6000 px. from the series “Lost Memories, Found Comparisons”

I’d like to share a little bit of the process of the most recent series of images I’m working on. As I mentioned before, I’m thinking about the objectuality of the digital, the measure with which we can decide how real the digital is. In this series of works, I’m placing 3D scans of classical sculptures in what I like to call an “unstable environment.” These environments show their “ins” through error. They’re full of elements like blown-up fragments that show their structure, intertwining with the main figure, or decimated sky textures, modified to almost look like abstract backgrounds. The main figure itself is also broken using a pattern that deliberately emulates machine error. I want to explore an aesthetic of uncanny realism, taking advantage of the contrast between the cultural heritage of these classical sculptures and the digital milieu they’re thrown into. These works are a part of the series “Skies” and will be available on SuperRare. 

1

Julian Brangold

Julian Brangold is a multidisciplinary artist whose artistic research looks into the ways in which technology rewrites the definition of what it means to be human. With a background in film and video art, his work explores a wide spectrum of media including video game engines, online databases, digital imagery and artificial intelligence to create critical spaces in which technology and aesthetic production can merge to open up new pathways in thought and experience.

Art

Tech

Curators' Choice

SR Interview with Goldweard: Craftsmanship in the Digital

SR Interview with Goldweard: Craftsmanship in the Digital

Sep 15, 2020 Artist Statements

SR Interview with Goldweard: Craftsmanship in the Digital

SuperRare
4 years ago

I am known as Goldweard, I am sitting here in my flat in the south of England musing on my time as an artist. I have always been a digital designer, I was making artworks on my computer when I was a kid, and I have been making art the same way since I was 14.

Caged – Tiger
Edition 1 of 1
A Black and Gold ceramic Tiger sculpture encased in a gold wire frame mesh sits inside a glass display case.

I am interested in cultural memory and craftsmanship. Since the advent of mass production, design has become standardized, generic, functional, minimal, and disposable. Beauty in design is often subjective, I find extravagant designs beautiful, they sometimes lack functionality, are expensive to produce and delicate, the type of object you would expect to find in a chateau or antique store. They are coveted objects, they were loved, never forgotten, handmade by expert craftsmen, relics of the days before machines and mass production took over. 

Tortoiseshell Bull
Edition 1 of 1
A statue of a charging bull rendered in tortoiseshell and gold atop a gold vein marble base

A turning point for me was meeting an old man, he had a wardrobe, it was very old and worn much like the man himself, it was in 2 pieces and he referred to them as ‘mum and dad’ the wardrobe had been a family heirloom past down from generation to generation and it was our job to move it to his new house. He was so attached to this wardrobe that he couldn’t bear to watch for fear of it being damaged, as the team was carrying it down his stairs and loading it onto the van he covered his eyes almost in tears. I realized at this moment that people can invest a lot of emotion into an object with history. To everyone else it was just on old piece of wood, but to that man it was his connection to history, it was his mother and father, his grandparents and it was part of his family. I found it strange someone could feel such a strong connection to an inanimate object, everything in my apartment was machine made, bought for functionality and low cost rather than how they made me feel. At this point I decided to seek out beauty in design, I wouldn’t own an object unless I felt emotionally connected to it in some way.

Kintsugi
Edition 1 of 1
Kintsugi is the Japanese art of repairing broken pottery with gold, they say a broken object is beautiful, to repair it shows it was loved. In this artwork I explore the fragility of relationships, the hands reach out towards one another but never touch for fear of shattering.

There is an ongoing struggle between technology and craftsmanship. I want to use technology and computers to create art in a way that honors the hand-made works of the artisan, for me their patterns, textures, structure and materials have history, they are talkative, they tell a compelling story. 

Weapons of Choice
Edition 1 of 1
Ornamental weapons made of ceramics and gold are laid out on a glossy surface.

I explore many other themes in my artworks from femininity, to fear, love, life and death, my designs are nomadic, spontaneous, and disorganized, I like to explore a variety of ideas. I spend a lot of my time designing so when an idea arrives, I find it difficult not to materialize it right away.

ADHD
Edition 1 of 1
Large colorful pills are crammed inside a Gumball machine

I always start with an idea, sometimes I write it down or sketch it, other times I jump right into 3D design. The process of designing in 3D is therapeutic, shaping objects and building up complexity from basic geometry still feels like magic to me.

I would love to bring some of my 3D creations into the real world and create larger than life sculptures to display at NFT events around the world. However, with corona and lockdowns I have decided to postpone this idea.

Pyrobolus Convenusto series

I entered the NFT space in 2019 after seeing posts on twitter, I was drawn in by the idea of a market for digital art. It was the answer to a question I have been asking since I was 14 “how do I make a living from my own digital art?” the question had gone unanswered for the better part of 2 decades. I had worked on commissions and spent some time in a marketing department, both shared the same problem, I was working on designs for other people, materializing their ideas and not my own. NFT’s and Cryptoart was the opportunity I had been waiting for and a seized it with both hands.

Caged – Beetle
Edition 1 of 1
A porcelain Beetle encased in a geometric grid sits inside a Glass display case.

The NFT community has been welcoming, helpful and open, it is easy to start a conversation with artists and collectors, people are always willing to talk about their experiences and share their thoughts on the industry. I have spoken with many artists and collectors from SuperRare and there is a shared belief that we are at the forefront of a digital art revolution. Everyday new artists and collectors are joining the space and discovering NFT’s through sites like SuperRare. I am incredibly grateful for the opportunity to sell my work and be part of the community.

Entomologists Prize
Edition 1 of 1
An ornamental Hercules Beetle formed from gold and marble is lit on a red velvet padded surface

I believe the future is very bright for NFTs, as more people discover the world of digital collectibles, the market cap could hit $600 million by the end of 2021 and $1 billion by 2022, I can see SuperRare solidifying its place at the top of the art auction market place. It is not unlikely that we will see a work by an artist sell for 6 figures by the end of the year.

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SuperRare

SuperRare is a marketplace to collect and trade unique, single-edition digital artworks.

Art

Tech

Curators' Choice

Atlantis: SuperRare 3D VR Art Exhibit

Atlantis: SuperRare 3D VR Art Exhibit

Aug 24, 2020 Events / Exhibitions

Above: “data privacy” by stockcatalog licensed under CC BY-SA 2.0

Atlantis: SuperRare 3D VR Art Exhibit

SuperRare
4 years ago

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https://twitter.com/superrare.com/status/1298305601240469504?s=21

Panel – Convergence: Art & Blockchain in VR

Featured Artworks

I think it is impossible for us to ever truly know the truth of the matter where Atlantis is concerned which makes it all the more fascinating to me.

— CRYPTOSPECTR

Protozoa – Sunset Pavilion / Protozoa – Dark Star by CryptoSpectr

Protozoa – Sunset Pavilion
A planktonic study, fine
filigree style, deep blue,
marine and gold.

Protozoa – Dark Star
A planktonic study,
exquisite fetish style,
black as midnight with
crimson red.

Exotic protozoa in two very distinct and tasty flavours.

Atlantis is one of those classic legends that sparks the imagination of anyone who hears the tale. Hearing Graham Hancock and Randall Carlson discuss their take on the possibility of lost civilisations on the Joe Rogan Podcast around 5 years ago, my interest in Atlantis was certainly reignited. I think it is impossible for us to ever truly know the truth of the matter where Atlantis is concerned which makes it all the more fascinating to me.

I wanted to create something both sculptural and architectural that visitors to a VR space can enjoy inside and out. My sculpts were inspired by microscopic protozoa which are abundant in the sea, but usually impossible to see with the naked eye. Visually these creatures are about as close to aliens as you could find on the planet earth. My intention with this work was to fit with the theme of the show and explore the beautiful complexity of these lifeforms.

Since first experiencing virtual reality back in 2016 I have very much enjoyed not only creating digital 3D work but also exploring it within VR environments. Most people I have introduced to VR really enjoy it which gives me the impression it will be around for the foreseeable future or at least a comparable technology. Every time I’m asked about cryptoart my response is much the same, I am so grateful to be involved in this new and fast evolving scene.

I wanted to create an Octopus sculpture which you can travel inside and dance together in its vivid dreams… thus Discopus was born.

— VR_ROSIE

Discopus by VR_Rosie

I am Rosie Summers, a virtual reality artist, a creative slave to the metaverse. With VR, you have the chance to intimately connect with your digital art in revolutionary ways. This means that whatever I paint I form a strong connection to. This connection is emotional and feels physical through the tangibility of the immersive medium and allows me to transcend into what I’m painting. The meta dream becomes lucid and I start to feel things through my artwork, this allows for an interesting experimentation process as I form the digital thumbprints on my work. Recently in my virtual art, I have been drawn to exploring the cosmic realms of space and the juxtaposition of the synthetic and natural world.

Apparently only 5% of the deep sea has been explored which is a mind blowing concept, what rare finds will be discovered when humans get the ability to explore those realms? This makes Atlantis a fantastic concept for a crypto art gallery exhibition. 

My sculpture Discopus was born from the idea of collective dreaming. In these times of Covid, we have seen more frequently. Subconscious human minds intertwining, connecting, humming the same vibrations. This is something I have experienced before and became fascinated with the concept. I wanted to create a space where people can dream together. A VR exhibition is the perfect place to experiment with this concept, with us disconnected from our physical presence and immersed in the virtual, it can often feel like a dream state. It was dreams that lead me to Octopus, I had read recently a theory that Octopus change colour whilst sleeping, suspected to be dreaming. I found this amazing, not only does it show how advanced they are to ‘dream’ but it’s an example of a visible dream, observing their cognitive adventures which is fascinating. So I was inspired to recreate the Octopus dream, in Atlantis, playing with the technicolor aspects of the octopus and the abstraction of its travelling mind. I wanted to create an Octopus sculpture which you can travel inside and dance together in its vivid dreams… thus Discopus was born.

The chance to imagining possible worlds, modeling them and taking them into virtual realityI wanted to create an Octopus sculpture which you can travel inside and dance together in its vivid dreams… thus Discopus was born.

— CRYPT0_BABY

Crystal Jelly by Crypt0_Baby

My cells are driven by the rhythmic contractions my body produces when I drink water.

What excites me the most about my creative work is the chance to imagining possible worlds, modeling them and taking them into virtual reality. I think of technology as a medium capable of expanding the limits of what is possible and thinkable for artistic creation. Atlantis is the perfect environment for my universe. I like to mix the sensitive world with electricity, my piece Crystal Jelly is a creature that moves its body in space using the energy of water.

As we navigate our planet’s sixth mass extinction (aka the Anthropocene extinction), we are witnessing the death of a civilization in the vein of Atlantis for all the same reasons.

— BINGKOLAND

Mand(la) Ray by bingkoland

Feel your inner flow guided by these sacred creatures of the abyss.

As an artist and storyteller, the idea of Atlantis evokes a subject I’m very passionate about. As we navigate our planet’s sixth mass extinction (aka the Anthropocene extinction), we are witnessing the death of a civilization in the vein of Atlantis for all the same reasons. Lack of empathy, over consumption, and hubris all leading down the same destructive path. For me, breathing a kind of life into a vulnerable species like the manta ray was not only to showcase its gentle, majestic beauty, but to remind a viewer viscerally of what they will lose due to habitat loss unless we act. Capturing the ephemeral in the displacement of water and time, I want to bring these kinds of social and environmental issues more to the fore with VR and cryptoart because the communities that gravitate towards these platforms are already willing to think and feel outside the proverbial box. We need that kind of approach more than ever.

I like playing with the idea that Atlantis could actually be a city of the future or exist in a parallel world or dimension. I picture a sort of solar punk world filled with new technologies and renewable energy but mixed with a bit of fantasy.

— MATT BUELT

Spirit of the Ocean by Matt Buelt

A chance encounter with an ethereal being.

My name is Matt Buelt and I have been working in 3D and making digital art for about three years. My main focus is in game development in Unity, and more specifically creating content for the Oculus Quest.  My earliest inspirations came from retro point and click adventure games, and I have always been fascinated with building worlds that I can explore. Beyond VR projects I enjoy making picture art and short animations as a way to work out different ideas and learn new tools.  World building and game development in general is a long process that can cause burnout so I enjoy skipping around between multiple art projects. I like experimenting with different approaches without being super committed to what I create and making art as a fun mental exercise. I generally try to create varying styles between my individual art works and also enjoy practicing other disciplines such as virtual sculpting, and character creation.

The underwater Atlantis I first think of is a greek-like city lost to modern times. However, I’ve always enjoyed seeing myths evolve and become reimagined over time. I like playing with the idea that Atlantis could actually be a city of the future or exist in a parallel world or dimension. I picture a sort of solar punk world filled with new technologies and renewable energy but mixed with a bit of fantasy.

My sculpture titled “Spirit of the Ocean” adds a bit of magic into the world of Atlantis. The artwork depicts a fictional creature, and doesn’t bear an exact resemblance to any traditional underwater animal. (Though I kind of think it looks like a shrimp wearing a bathrobe). The intention was to make a metaphysical creature that maybe is only rarely encountered, and would provide wisdom, or act as a guide. The idea of the sculpture in a sense was to embrace the unknown, and maybe draw parallels between the depths of the ocean and the depths of the human psyche. Both are not fully explored, yet there still could be some magic that has yet to reveal itself.

I’m really excited to see where cryptoart is headed and I think digital sculpture has a lot to offer in terms of pushing the boundaries of NFT’s. I can definitely see tokenized avatars, buildings, and even entire levels becoming popular items in crypto. In a lot of ways I feel like VR has reinvigorated the medium of sculpture itself.  I used to view sculpture as an outdated and primitive medium, but now it seems to be the exact opposite. I do think that VR and crypto both have a long way to go before they will be used by the majority of people, which is perfectly fine. I’d honestly prefer the technology be molded by the enthusiasts and early adopters slowly rather than have it go mainstream and fall apart.  While VR can be a temporary escape from the problems in the world,  I dont think it’s beneficial for everyone to use it all the time or for long periods of time. I think it’s important that VR is put towards creating some good in the real world too. The same could be said for crypto currency, I want it to have a positive impact on the global economy, and be more integrated with real world business.

We are living in a civilisation at a peak of technological advancement, sophistication and stability where almost anything is achievable. But we are also in the midst of challenging times and run the risk of sinking into oblivion, chaos and destruction.

— MARC-O-MATIC

MetaBeast – The Junk Crown Shambler Crab by Marc-O-Matic

A meta manifestation of the growing abundance of discarded waste that populates our ocean floor.

I’m a Multidisciplinary Creator based in Melbourne, Australia. Working across Illustration, Animation, Immersive and Interactive Media, my work is centred on building storyworld narratives and explores intersections between traditional/analogue art disciplines and immersive experiential media like Augmented/Virtual Reality.

The Crypto Art I have created to this date are driven and inspired by a Storyworld Thought Process, meaning the majority of my creations are somewhat interlinked and connected in different ways and may share or be involved in similar recurring narratives. Many of the constructs and creatures that may be seen throughout my artworks are connected within my own overarching storyworld universe.

To me the idea of Atlantis is symbolic and representative of the end times of Civilisation.  According to Plato’s description of it, Atlantis represented a once utopian civilisation where its people were considered half god and half human. Living in a state of advancement, sophistication and abundance but tragically taken away in an instant by natural disasters. In many ways I see our current globalised human civilisation as a reflection of this and an indicator as to where we may be headed. We are living in a civilisation at a peak of technological advancement, sophistication and stability where almost anything is achievable. But we are also in the midst of challenging times and run the risk of sinking into oblivion, chaos and destruction.

I always find art (3D and Virtual Art especially) as an exciting opportunity to create narratives and storyworlds that audiences can be immersed into and experience up close. Works that can be traversed by users and studied. Where drawings may create shape and form, 3D creates depth and offers a multi-dimensional canvas

Mixing Analogue Ink Illustration with VR and 3D Animation, The Junk Crown Shambler Crab is a meta-manifestation. A construct representing an ever-growing abundance of discarded waste and junk that continues to populate the world’s ocean bed. This scuttling creature was designed to represent our materialistic nature and endless need to clutch and latch onto the next new thing whilst also carrying and treasuring a collection of hand-me-down items.

Crypto Art, NFTs and 3D digital/virtual content go hand in hand and I think creating virtual/3D tokenised artworks is essentially a step in the evolution of crypto art. From static art to Gifs, Gifs to videos, videos to 3d objects, 3d objects to virtual environments, thanks to blockchain technology the ability to tokenize and authenticate digital assets means that even 3d assets creations can hold their value, scarcity and worth in the digital realm.

It would be a dream come to true to descend into the depths in a submersible.

— METAGEIST

Neon Anenome by Metageist

A hand sculpted radial polyp mandala.

I’m an advanced SCUBA diver with a deep love of the ocean which can be seen in my past work as well as the Neon Anenome piece I created for this show. It would be a dream come to true to descend into the depths in a submersible. Maybe one day I’ll make that happen, but until then a sunken SuperRare immersive art gallery will more than suffice. I’m very proud to be part of this group show which represents two of my biggest passions. I can’t wait to pinch my nose and roll backwards off the edge of reality and descend into the depths with some of my closest friends.

The little crab warns our dear Pen Shell of the impending dangers by advising her to close her shells by offering a caring pinch pinch. Even though they make up one of the coolest benthic combos, the Pen Shells are really, really endangered.

— PIRATE_SHEEP

Pinna Nobilis Musk by pirate_sheep

Pirate Sheep (Mag. art. Marta Strazicic) is a multimedia artist from Croatia. By merging dystopian energy with robotica and speculative genetic mutation with insects​, she simulates mesmerizing ecosystems in both VR and on digital canvas.

I spent three weeks traveling around Croatia’s coastline gathering research material for a personal project. I went from the least (Pag) to the most forested island (Mljet) whereupon I learned some engaging facts from the people. They ranged from swimming wild boars to sea salt gathering with a spoon. So when the underwater theme came up I was overjoyed!

For the Atlantis exhibition, I decided to portray a special underwater combo that people living in Mljet’s National Park told me about. A Pen Shell (lat. Pinna..) is the largest known clam in the Mediterranean, but the fun fact is that they often have a friend visiting them, a little crab that we in Croatia call Cuvarkuca which when literally translated means “house guard”.

The little crab warns our dear Pen Shell of the impending dangers by advising her to close her shells by offering a caring pinch pinch.
Even though they make up one of the coolest benthic combos, the Pen Shells are really, really endangered.

This piece was created in honor of their coexistence. Firstly, I translated Pinna’s shape into that of a robot which ended up looking pretty sleek so I added Musk to the name. Then I made the crab overgrown and mutated for better protection and mobility.

The music surrounding the sculpture is by one and only Pi (Ivana Picek), so 10% of the sale goes to this magical creature.

For me, 3D digital sculptures are one of the most beautiful forms of expression. I will never forget the moment when I first saw my creature inside VR back in 2017.. Some mum genes must have kicked in, I was so proud. Since then my love for the virtual craft only grew.

I admit Cryptoart was at first puzzling since I came into it rather cluelessly, but now I proudly stand by it. The community is young and we grow together. The support I received and the people I’ve met is outstanding, honored to be aboard such an amazing and rising star. Definitely here for the long run.

See you at the Atlantis opening in VRchat! Cheers.

It is only 60 frames of animation, and it slowly turns to allow you to see all sides of it. The intent is for the viewer to sit and watch it but also feel invited to walk inside and to let the colors wash over them.

— SCOBOT

Migration by Scobot

Hello, my name is scobot (Twitter/Instagram: @scobot1). I have a background in traditional art spanning a career of over thirty years. In 2000 I purchased my first computer because I wanted to make video games. Over the past 20 years, I’ve generated a lot of digital art using a variety of programs and techniques – including time spent as a professional VJ (2005-2014), where I created live “video art” for events and performances. In 2015 I bought my first virtual reality headset, an Oculus DK2, and since then, my digital work has focused on VR art experiences. The Pacific Science Center (Seattle, WA) has licensed my VR artwork for display, and I was Artist-in-Residence at the University of Washington CoMotion Labs, where I created virtual reality artwork alongside AR/VR startups (2016-2019). My VR piece “WORLD ONE” was an official selection for the 2018 Seattle International Film Festival and the 4th Ranetas VR Fest (Aragon, Spain) and is featured online in virtual reality at the “Museum of Other Realities” (2019). Large-scale archival prints from “World One” are on permanent display in the Bellevue College XR Lab (Bellevue, WA).

I am excited about this opportunity to present my work to Cryptoart collectors via NFTs as my digital artwork has never been commercially available before, anywhere. Truly super rare.

The inspiration for my piece was to create a sort of underwater “moving sculpture” that evokes the feeling of motion in water. I thought about creating something that stretched up towards the surface – maybe a volcanic vent or such. But as I was creating it, using the VR animation program Quill, I discovered I liked seeing it on its side, which triggered the idea of a “migration” of fish. It is only 60 frames of animation, and it slowly turns to allow you to see all sides of it. The intent is for the viewer to sit and watch it but also feel invited to walk inside and to let the colors wash over them. The NFT for this piece will be an HD/4K video loop, and the first collector will receive a personalized commemorative VR build for them to experience. The program will also feature a desktop mode to allow the owner to run the piece as real-time video art on their display of choice

I am excited about the future of Cryptoart as a way for digital artists to sell their work. I see Cryptoart is the “killer app” for VR as well. Artwork, especially VR artwork, should be seen at it’s intended size and scale, no longer limited to looking at something in a book and wondering how big the original is. I love that collectors are building their own VR galleries to display and share (which is very important) their collections. I think this will help drive the market for VR Art as well. I’m totally for it and honored to present my work on SuperRare.

The very Creator of Atlantis: POSEIDON! Distraught by his ruined temple, he will seek revenge in the realms of both Greek and Crypto Gods alike!

— SPACED PAINTER

Poseidon by Spaced Painter

Encompassed by a gigantic cathedral of crystals, the human-sized sea-beings encourage us to reconnect with our hearts and rejoice with the wonder and beauty all around us.

— TRIPPYOGI

Depth of Love by trippyogi

Trippyogi is a digital dream builder co-creating a more peaceful world through art and technology. Whether architecting new spaces in the metaverse, moving meditations, or digital designs, each creation comes from a place of peace and love.

Spanning the depths of the unknown, the magic of Atlantis is rooted in ancient knowledge that predates our current understanding of time and existence. Connecting with the wisdom of this breathtaking civilization is the key to fully understanding the multiverse, and unlocking portals to new worlds. This VR installation was an opportunity to express a deep and powerful manifestation of magic and emotion, bringing otherworldly creatures together in a beautiful space surrounded by love. Love is universal, and this immersive environment showcases the significance of this. Encompassed by a gigantic cathedral of crystals, the human-sized sea-beings encourage us to reconnect with our hearts and rejoice with the wonder and beauty all around us.

While sketching and compositing the initial space in VR, the presence of pure love encompassed the subjects and their surroundings. Similar frequencies vibrate together, and line strokes soon became shapes inspired by a beautiful emotion spanning all dimensions. Carefully placed crystals formed an underwater architecture reflecting this beauty and embracing its inhabitants with prismatic healing light. May all who enter this space feel the love and healing vibrations that reside in it.

Combining VR with blockchain technology opens up a whole new realm of possibilities for the modern digital artist, as both spaces tend to promote borderless and open experiences that empower collaboration. The advent of digital ownership presents unique opportunities for artists and collectors, and virtual spaces have become a conduit for sharing the unique emotions and perspectives that artists bring into realization. As VR significantly enhances these experiences, its proliferation will inevitably lead to more immersive artworks and worlds. The virtual spaces and the 3D sculptures that inhabit them will most likely usher us into a new era of limitless experience, enabling us to realize what might otherwise remain hidden in our heart’s abyss.

For extra fun ToxSam (Polygonal Mind) has provided two of their underwater themed Avatars (Shark person & Goldfish bag person) that players can find in the level and change into!

Shark person

Shark person

Instructions

Vrchat can be installed on a windows compatible PC off of STEAM and does not require a VR headset: https://store.steampowered.com/app/438100/VRChat/

This VRchat world is NOT compatible with Oculus Quest, or a Mac computer.

A 360 Tour of the level will be uploaded to youtube for mobile viewing, and a single player web browser tour will be available online. find these links here: https://www.illuminedomes.com/superrare

There are a few ways to find the world in VRChat.

First thing make sure that Community Labs is Turned on in your Settings menu.

Launch the SuperRare Hub world using this direct link: (VRChat must be installed on your computer and an account setup for this to work) https://vrchat.com/home/launch?worldId=wrld_fdfd9626-a10b-4239-ab11-c3dca4ea8642

Inside the hub world you will see a portal to the Atlantis world, enter the portal! Alternatively, inside VRChat users can search for “SuperRare” (one word), to find any of the SuperRare worlds. If you cannot find Atlantis or the Hub by searching, go to the Aether world and find the portal back to the hub world which will take you to Atlantis.

The event is powered by Illuminé

https://www.illuminedomes.com/
https://www.facebook.com/IllumineProjectionDomes
https://www.instagram.com/illumineproductions/

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