Sun, 27 Mar 2022 11:27:41 +0000
Welcome to CryptoArt Sundays! I’m excited to introduce you to some super cool and obscure art this week by SGT Slaughtermelon. I have to say, usually this style of art is not my preference as I love more realistic type of art, but there is just something so wacky and catchy about these artworks that I feel I resonate with and that I had to share with you all.
As the artist themselves explains, SGT Slaughtermelon is a project in creating digital art with glitch aesthetics and wild collage techniques – sometimes using Processing scripts that are altered or coded from scratch – and almost always using some kind of geometric composition. The themes range from cyberpunk to mysticism, low-brow kitsch and absolute pretentious neo-suprematism.
Now let’s dive in and find out more about this incredible artist and the NFT vibe!
A total stranger that goes by Mr. Bones saw my Instagram feed and messaged me there. I was into it without knowing much of anything about it – and the concept of authentic digital art was really compelling to me as a digital artist.
It depends on the week, but I generally try to make *something* new every week, whether it’s a new program for doing things or new raw materials or finished compositions or even a website reorganization. Creative work is what keeps me going.
“Process” would be a strong word, but generally I try to find an idea that I really enjoy playing with and then explore techniques for creating textures and patterns, try to balance that with the kinds of compositions I want to make and find a look that works for some new conceptual series.
So many that I couldn’t even list them all. One thing I’d like to do is be someone who connects other people to work together – try to facilitate success for other people in ways they couldn’t achieve just working on their own.
I think CryptoArt is really going to have to define itself in the public consciousness as a different category from NFT collectibles before the value proposition makes sense. It could be that we never really achieve that differentiation and CryptoArt ends up becoming just a weird small run version of collectibles whose future value is a dubious endeavor.
It could also be that the general public realizes that their use for digital art is significant, and that ownership of digital goods is a meaningful thing for the portion of our shared lives in digital spaces. The dream is that the realization that digital art has value sparks a new growth of the medium and digital art finds its voice as something other than capturing legacy formats.
Currently, Glitch Forge is taking up most of my art time. It’s a novel generative/glitch platform on Tezos that launches this March. Otherwise – I’m splitting my art between three current series: desert_visions_of_st_turing / o_god_the_mail / 38_dimensional_chess.
You pretty much have to look at my LinkTree. I like using OBJKT, Foundation, and Known Origin for most of my minting these days.
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