We’ve had another round of our Electric Artefacts Tweeterviews. Ever-adapting to the various bubbles and directions the NFT-communities sprout, it’s time to take a moment and reflect on what insights the Tweeterview have brought this time around. What better way to learn about what’s going on culturally in the NFT-art landscapes than via a Twitter-native conversation?
Starting off, we spoke to multimedia artist Gabriel köi. Born and raised in Brazil, köi started experimenting with video art at age 13. They explained that they never got any formal schooling, but rather began by messing around with Premiere making vaporwave-styled videos. Basic softwares were soon followed by many tutorials and more intricate tools - and köi never stopped learning online. Revealing some of the programmes they use, they mentioned the following:
Mostly Digital. I Use C4D for the 3D. AE for Post-Process. Touch Designer to the the pieces of my project @Koii_Gen. Zbrush to sculpt, and my main objective of 22 is starting to make some pieces with UE. I'm learning it since last year. (+)
However, they emphasized that their main tool is and always will be their creative perception and inspiration. When asked about being based in Brazil, köi explained how living in Sao Paulo shapes his creativity and feeds his practice:
I'm born and raised in Sao Paulo, Brazil. This chaotic city influences a lot my work, and sometimes, serves as a background for some pieces. Like that series:https://t.co/DFdzHORhg7
Sao Paulo is a Global City, with a lot of people of different culture, a lot realities, a lot of curious episodes on the streets. This city is a magnetic city, and the results of the encounters of that definitely affect me. (+)
Köi elaborated further, saying that the ‘Sentinels’ shown floating through the streets of Sao Paulo in the tweet above are an example of the many different alien beings and entities that manifest themselves via their work, quoting it as one of the artist’s “missions”.
Summarizing part of their practice, köi explained what the format of NFTs means to them and how they see it evolving for their work in the future:
But i feel the potential of digital art blended with NFT's to tell stories in a super condensed way. I think it's the closest thing to my reach and still being effective.
But I definitely want to make longer videos. I want to tokenize this. I like to tell stories. Future talk.
For our next guest, we invited French glitch artist Thomas Collet, who works under the pseudonym Chepertom. Based in Brussels, he describes his practice as “making videos and breaking them with code”. Chepertom comes from a more traditional art background, initially working predominantly with paint and drawing until discovering video montage in art school approximately five years ago.
Now half a decade into glitch, he’s gotten more than acquainted with the art of errors, as proven by some of his insights into the nature of technological ‘mistakes’. Chepertom elaborated on how glitch artists employ errors in their practice, using them both as tool and commentary. When asked when an error stops being an error in glitch art, he explained:
that's a tough one! I would say that any kind of digital error can lead to amazing glitch Art when it's in good hands. After using this error for a while it can become a tool in itself. Intentionally making an error can erase it's surprising nature ...
Adding to his insight into not only how glitch artists utilise errors, Chepertom then went on to explaining what he means when he says that errors give a very intimate insight into the technologies we rely on day-to-day:
Today, most of us have daily relation with our digital devices. But most of the time people consider them as black boxes. Being a glitch artist means to dive into the technical aspects of these tools we use. (...)