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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 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.

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 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.

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.

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.

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.

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.

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.

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.

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

Last Friday, June 26, 7-9pm EST, we opened SuperRare’s first virtual reality art show, Aether, in VRChat. Exhibited in the VR world were 3D sculptures by seven of our 3D/VR artists: Frenetik Void, Giant Swan, Glass Crane, Marc O Matic, Metageist, Rosie Summers and Sven Eberwein. This art event aimed to explore the world of 3D and VR art, and to expand the possibilities of exhibition, experience, and meaning of art in the digital age.

People who have missed the opening, can visit the web version: https://play.illuminedomes.com/superrare

Along with Aether VR Art Show, SuperRare launched support for tokenized 3D artworks on June 26, 2020, which allowed people to collect and own the sculptures that were exhibited in the VR Show.

We are thrilled to be taking 3D art to the next level by launching 3D file support and 360 display that makes the rendering of 3D artworks fully come to life.

Throughout art history, technology developments have often advanced art as they provide new media/tools supporting artists’ creativity, helping them materialize their imaginations in better ways. We believe that 3D tokenization will advance the notion of “art sculpture” by bringing it into the digital realm. 3D tokenization will not only increase the richness, variety and fun of crypto/digital art, but also expand the dimension and possibilities of what “art” is or could be, and how art will be created, exhibited, experienced, collected and interacted with in the near future. 

For more read “3D Tokenization: a Step toward VR + Blockchain” on SuperRare Editorial.

Aether is the first ever VR art exhibition featuring 3D digital sculptures by seven artists from all around the globe with the sculptures tokenized on blockchain – allowing collectors to buy the single editions directly from the artists.

Within 3 days (by June 29th), Co Ser by Frenetik Void was sold for $3,150, Daniher by Giant Swan was sold for $1,003 and Got Em’ was sold for $3,345. All of them are these artists’ first 3D artworks tokenized on blockchain.

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Special thanks to the Illuminé Projection Domes team and especially Matt Buelt who’s helping us design & build the VR space!