fx(hash) 2.0 launches December 14 on fxhash.xyz
First, I discovered the platform and after that I became a generative artist. If it hadn’t been for fx(hash), it wouldn’t have happened. Its openness is an excellent opportunity to prove your capabilities.
When I looked into fx(hash), I found so many other artists who, like me, had never sold any art before and had no connections in the art world but had nevertheless found a collector base on fx(hash). That gave me the confidence I needed to start submitting my own projects.
VM: Newcomers have to start somewhere, and sharing the stage with established artists immediately gives them much-needed visibility and encouragement.
I generally prefer participating in uncurated platforms because I feel that there is less gatekeeping, but that is only politically meaningful if it is deployed in a radical manner like on Hic Et Nunc, with no curation of the front page or else via community curation.
Rather than trying to hone in on a single instance of beauty, long-form is about discovering a whole new region of beauty.
Working in the long-form was a mind-boggling shift that made me rethink almost all my coding tools.
A piece with an interesting concept that uses advanced techniques or calculations to generate art may carry significant value, even if it doesn’t necessarily produce visually appealing results.
Exceptional code doesn’t necessarily produce exceptional images, and that’s not a problem. Very good work can also be produced with mediocre code, and that’s not a problem either, even if it hurts to see a 1MB library being used to draw a few circles.
It didn’t matter if I was part of the conversation. The algorithm created an autonomous community.
I choose to articulate the frictions of society with everything I learn and do. If I code, it is for that.
The emergence of NFTs and the generative art scene seems like a natural response of the human spirit to these challenging, code-driven times. As a civilization, we owe much to art and culture, and I feel like I’m part of something important that is currently unfolding.
Estelle Flores is a Brazilian contemporary artist who has explored video game art since early 2021, developing her collection, “Contain Real Ingredients,” a practice of painting inside the game The Sims 4. Now, this exploration of play continues in the fields of AI, generative art, and code through research into the personal myths and emotional shortcuts produced by nostalgia.
Olga Fradina is a generative and digital artist from Ukraine who is also an internationally recognized interior designer. In 2022, she began a series of experiments with the help of different software, working with procedural 3D graphics and creative coding to establish her own approach to AI. Her works are characterized by abstract and biomorphic forms, alongside a focus on emotional states.
Andreas Gysin is a designer and artist based in Switzerland. Research, experimentation, analysis, and discovery are all fundamental to his process across both artistic and commercial projects.
Ella Hoeppner is a generative artist based in Virginia. She is known for her work with particle systems, her focus on real-time and interactive pieces, and her vivid and abstract textural imagery. She draws inspiration from biology, physics, and mathematics. With a passion for novel and experimental algorithms, Ella’s practice seeks out new directions for code-based generative art. Her work has been exhibited globally, including at Art Basel Miami Beach; Bright Moments, Berlin; and Non Fungible Conference, Lisbon.
William Mapan is an artist, coder, and teacher based in Paris, France. While he works primarily with computers and code, his curiosity leads him to explore a wide range of different media and techniques. Through his use of organic forms and rich textural elements, Mapan seeks to bridge the gap between the artificial and the human, creating works that are both technically impressive and emotionally resonant. He is best known for his series, Dragons (2021), Anticyclone (2022), and Sketchbook A (2023).
Volatile Moods is a generative artist from Bosnia and Herzegovina. His two passions since childhood have been creative coding and music. After finishing his studies in engineering, he spent a decade working at the University of Zagreb, researching algorithmic methods for solving complex optimization problems, while also teaching programming and databases, earning a PhD along the way. He has worked as a senior programmer developing software for industry and has served on the board of a number of local art festivals. Since the emergence of the NFT digital art space in 2021, he has sought to unleash his creative potential principally through the medium of long-form generative art.