A P.S.A. on N.F.T.s
When did an experience of expression become data in a blockchain?
In 2021 N.F.T.’s became a subject of discussion and the whole world seemed suddenly interested in the sales of art. However, the problematic nature of this ‘product’ centred entirely on the purchasing and ownership of art, and not about the experience of it. This technological advancement missed the part where one looks at art and feels it. The process of intricate blockchain authentication escapes the authenticity one experiences when they are simply in the presence of an idea.
Are you convinced by the facade of scarcity?
Digital art has faced its challenges. Ask an artist who has ever tried to set up a projector in a gallery designed for brightly-lit paintings with no power sockets in sight. But the N.F.T. ideal appears to be attempting to validate the medium of digital art without respecting the space this medium already occupies and thrives in. An enticement towards digital art is that anyone can come across it at any time. Once you have ‘shown’ your work; when you have released an animation or digital drawing into the digital ether, it’s gone into a world beyond your control. This is where digital works gather communities and collaborations are formed; when the artists hand is severed and the hand of others get to play with what you’ve made, without the preciousness of paper in our hands.
Do you believe those pixels are exclusive?
One of the broken records I hear spun about N.F.T.’s is the motivation towards exclusivity. For an N.F.T. to remain exclusive it must remain unseen, unexperienced. The blockchain of a digital asset holds information of who owns it, who made it, its signature and framing stamp, so to speak. These can’t be changed by others seeing the art/asset, but once the art/asset is seen, these cannot be protected. This means that for ones art/asset to remain of value, it must remain hidden. And this is a true tragedy for those wanting to be visually simulated.
2022.
25 second loop
Single channel, digital colour.