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AOTM’s Artists in Residence - ADHD, Cydr, & JULES
Recorded: April 30, 2025 Duration: 0:59:09Space Recording
Short Summary
The latest session of the Artists in Residence program at AOTM has unveiled a new cohort of digital artists, emphasizing innovative partnerships and growth opportunities in the Web3 space. With strong auction results and a focus on the evolving role of digital art, the program highlights the intersection of creativity and technology, paving the way for future trends in the crypto art market.
Full Transcription
welcome Welcome. We got our whole, I'm bringing up some speakers, sending out a co-host invite.
ADHD, I'm sending you one right now too. Seder, can we hear you?
Hi, can you hear me? Can you hear you great how are you? Awesome doing good what about you?
Good good really feels like summer has started. I don't know where are you to remind me again? In Brazil. It's freezing, actually.
Oh, yes. It's the opposite. It's the opposite.
But yes, for those of us in New York, it's very much like summer.
Spring has certainly spring.
Spring has started after a very long and cold winter.
Cool. I think we almost have the entire crew up here on the stage. We're just pulling up Jules right now and then we'll jump right into it. Awesome. Jules, can you hear us?
Great. Welcome, guys. Happy Wednesday. How does it feel?
Welcome, guys. Happy Wednesday. How does it feel?
Feels great. Midweek, Wednesday, art all over on the timeline.
You got a Grand Yuen drop, a Mendez drop, an AOTM drop, so all the feels.
Amazing. It has certainly been a very art-filled timeline.
Welcome, everyone.
Cool.
Well, we will just launch right into it.
We are here today with the fourth cohort of the Artists in Residence program that Aniko
here very, very, you know, expertly has created, pioneered, and we're deep into that fourth
iteration. She can, oh we've, can other people hear me? I know Anika might not be
able to hear me. We got a thumbs up, thumbs down. Okay let me just do a quick little, um it sounds like we might need aniko to drop down and come back okay great um well we're here
with the fourth cohort of the artist in residence program i am georgia oeth here on the aotm account
uh we are oh here we goending up a co-host invite.
Apologies, always triple tasking here.
We're here with AOTM, which stands for Art of This Millennium.
And we are a contemporary digital art gallery.
We work with close to 50 incredible artists,
all of which who have covered a number of styles, genres,
and we do this artist in residence program to work with three artists every quarter on a more
personal basis who are not in our roster. And Anika, can we hear you now? I'm here, but there's something wonky.
So, but I'm here and I can hear you.
Amazing.
Well, perfectly in time because I would love to have you Aniko just give anyone in the audience who isn't familiar like a little overview on maybe why you thought of the Artist in Residence program, why you thought to bring these three together, ADHD, Jewels, Cider, and then afterwards, we can jump right into our space.
in January of 2024. And it was kind of my first initiative, but you know, obviously, I mean,
very grateful to have such an amazing team that was so willing and happy to put this forth. But
really the idea was how can we as a gallery, like sort of rethink what it means to be a digital art
gallery in Web3, what it means to work with artists and sort of be, you know, support the ecosystem as well.
So it was also a way for us to work with artists that aren't really on our roster and also in a deeper way, right?
So what we do, it's three months of weekly sessions. Each time it's been with three artists each, so it's a really nice small group.
And we do everything from, you know, kind of practical things like bios and artist statements,
how to talk about your work, but we also do some of these art history lessons as well,
where it's really about learning to look at things and also listening and learning from each other as well.
So each cohort has been very, very different in terms of the artists, but also really in
terms of the sort of program as well.
We try to tailor it to kind of the needs of the artists and the sort of vibe and energy
of the artists.
And yeah, it's been really gratifying and beautiful to see it develop.
And part of it is also that the artists give us, in exchange for our time together, an
artwork for our own collection, which we are going to be debuting very soon.
And that also speaks to sort of the namesake of AOTM, which was Art of the Century, which
is Peggy Guggenheim's project in the 1940s, which was a commercial art gallery,
but it was also a place to see Peggy's own collection, and it was a place for artists to kind of meet and exchange ideas.
So that's where this all was kind of born.
And yeah, again, this is the fourth cohort, the first one of 2025.
the fourth cohort, the first one of 2025.
Though it is an invite only project,
but it is really about artists that we admire
that maybe we've also already collected,
that we've been looking at.
And so this group came together through,
I think probably suggestions from everyone on the team
And also, so.
and also some.
I lost Anika at the very end of that.
This is the one of the.
Sorry, I got the call, but I'm back.
This this this sale has been the strongest start in terms of bid and bids and numbers.
So, yeah, that's that's really exciting and I think speaks to how much people admire these artists, but also speaks to how much
people admire what we're all doing here together.
So I'm really excited to be here and excited to hear more from the artists as well.
Amazing.
Thank you, Anika, for all of your leadership on AIR.
It's been really, really special getting to know a lot of different artists and variety
of personas, talents through this program.
Now, without further ado, I think everyone wants to hear from the artists themselves.
Could you please introduce yourself and then also share a little bit about how your experience has been in the residence?
You know, we did this space for the first time, I think sometime in January.
Now that was at the very start of it.
And now several months later, I'm curious how that experience has been.
I'll start off with ADHD, Colin, Space Case, man of many names.
Yeah.
Thanks. Thanks.
Thanks for having me.
Yeah, I mean, it was incredible.
I really, I could go on for the entire hour.
I'm still grieving the end of it at this moment.
It really was something to look forward to every week.
And what I mean by that really is like I find myself in cycles of overwhelm really easy.
I find myself lost in time really easily.
And this was such a grounding, recentering thing.
something I could count on to really keep my mind like focused and and on the right things you know
absolutely just so refreshing to be around people who talk about things other than you much an artwork sells for,
or sort of like the latest trend.
Just like all the kind of like noisy, trendy stuff,
I feel like is just so absent from this
and everything about it is like focused on depth
and connection and I just, yeah,
I love everyone involved in it and I had such a blast.
Amazing. And do you want to give a quick little intro to yourself and your style before we do the
next intro oh sure um I'm Colin I go by ADHD I I don't know I work in all kinds
of different mediums I guess lately I've been working a lot in digital collage and digital painting. I kind of border somewhere along the line of abstraction and I guess sort of fucked up figuration.
sort of fucked up figuration.
I love it.
How can anyone follow that one?
Amazing.
Jules, let's have you next.
We'd love to hear your intro
for anyone who's not familiar with you and your work
and also a little bit about your experience
in AOTM's Artists in Residence.
Yeah, thanks.
My name's Jules, digital artist.
Um, I've had an incredible time, um, at the, during this residency, I, uh,
you know, CIDR ADHD and I have very different art styles, but we have more
common ground, um, than anything else, which has been really, really awesome
to see every week.
Um, and, and you guys spend a ton of time with us.
You give us an hour each week.
I've learned a lot.
Even in just these last three months of getting together,
I've started to take my craft more seriously.
And it's a cool thing to align with AOTM.
You guys have a pretty legendary list of artists.
And so just to be affiliated has been a true highlight, really.
Yeah, 10 out of 10.
Thank you so much for that.
We have the privilege of working with all of these artists.
I mean, I think it's really been a testament
to the entire AOTM team, especially Vincent Van Doe,
who I think has done a ton of work
on building these relationships over time.
And last but certainly not least, Cider.
Hey everyone.
Well, I'm Cider, I'm a Brazilian artist.
I work mainly with the manipulation of images,
especially on Photoshop.
In very simple words, I could say that
I transform images or ideas to change their original meaning or even accentuate them.
About my experience here, I think it was great, really. To be fair, I had much more fun than I expected kind of signing up to this.
I didn't know who I would be paired with, and I happened to be paired with a great group.
I think we had great chemistry.
You know, everyone appreciated each other's works and opinions and so on.
So it was a valuable experience, I would say.
Amazing. I'm so glad that the three of you were able to bond to, I think, a lot of the experiences
meeting the other artists in your cohort. So the three of you...
Sorry, I just want to add something. So, you know, I think one thing that I also want to point out is
that, yes, it's like time that, you know, we're giving to artists, but it's also artists are coming every week, like diligently spending an hour to really focus on something and give also to each other.
and kind of byproduct is that just like spending time,
focused time on kind of one thing and participating
and taking in information and also giving out information
is really valuable.
And it's something that none of us,
often we don't find enough time to really do that
in our daily lives.
So I just want to also give kind of a shout out
to all the artists who have given their time and energy to us
because that's kind of how this
works well. So. A hundred percent. I think that's a great note, Anika. A lot of, I mean, you're
speaking to this meta theme, which is that you get what you put in. And I think that's such a
cliche that everyone talks about in life, but it really is the case. And we've seen this with AIR
over and over again, like the experience that the artists get is really around how much they want to give as well and there's kind of like a push and pull to that
um we have 19 hours left on a series of auctions that are all pinned to the top of this space and
i wanted to give the artists some time to chat
about their works. I was thinking we could start with cider on this one. And tell us a little bit
about the works that you have, the three, you know, weathermen, go, go, go, sweet rewards.
Tell us a little bit about not only the pieces, but also kind of thematically,
like what went into curating those three as the three that you were going to release. So tell us
a little bit more about what was created. For sure. While giving the task that I had to make
three pieces, I tried to work with three teams, I would say.
One would be more fun, really.
Didn't need much explanation, which that would be go, go, go.
One where it would be more personal and one that is more broad, I would say.
Starting with weathermen.
Weathermen is more personal, I would say. Starting with weathermen. Weathermen is more personal, I would say.
I'm pretty young.
Recently turned 23.
I started to experience more adulthood things, I would say.
You know, started to pay taxes.
I just finished university, now working in a job.
Anyways, much more work than usual, you know. I was just like a kid that
was playing video games all day, pretty much. And, you know, life has been so much more busier
compared to what it was before. And that made me really appreciate every little thing. And one of the things was the weather, funny enough. And I realized that the
weather is just completely changes my mood. You know, today is a cold day, not really feeling
that well. But when, you know, there's a vibrant sun, and so on, I do really change my mood. And
that's what I try to play with, you know, mood changes through,
you know, things that happens in your life. And this could be the weather, not necessarily,
you know, but, you know, things could be stormy, chaotic, or vibrant or strong, and, you know,
really reflects on you. For Go, Go, Go, it was really the fun piece.
For Go, Go, Go, it was really the fun piece.
You know, as I was thinking of what I liked as a hobby and what I don't,
it came up to me a few things.
And what stood out and usually does is art and video games.
That's what I have most fun in.
And I tried to mix the two.
The piece is about a CSGO shooter game and nothing really much to explain it's just like a I would say a screenshot or kind
of moment that I tried to recreate funny little moment I have like 4000 hours played on the game and not really proud of that, but pretty much summed a lot of my life and had much fun in it.
And for sweet rewards, that's going to be the bitters edition.
And there's a saying in Brazil that kind of says that, you know, the farther the fruit is from your reach, you know, looking at a tree, the sweeter it is. And this is just a
message about life, really. Sometimes your objective is far away, you know, from you,
the path may be long, harsh, but the reward is worth it. And that's something that you,
you know, want to go after and, you know, make separate.
I love that. I think you, on this point of the path, I think one thing that I've been thinking
about recently is, you know, just how instant dopamine we are and a lot of the things in life
require just consistent work towards a goal.
That's kind of what resonated with me when you were saying that.
If anyone wants to go see the works themselves that Cider has created, I'd take a look at the
pins on the top that Aniko has made. So you can see not only the current bids,
but also just take a look at the works in detail.
They're all incredibly impressive.
Jules, let's have you go next.
We'd love to hear about your pieces you created for AIR.
And they are no bell bop, places and parts.
And how are you feeling today?
Yeah. places and parts, and how are you feeling today? Yeah, I had, when I got asked to do the residency, I had been tinkering with places and parts
for a long time.
So it felt right to kind of continue that series, Objective Theory.
And really, both of these, I'd say a lot of us are chronically online.
A lot of us are on Twitter, on the timeline, and deep into crypto.
And crypto has this wonderful offering to give you all of life's emotions in kind of a five-minute
chart. And so you get to kind of feel these things immensely and go through these cycles of having
feeling like things are great or like your ass is getting beat or, you know, all of these, you know, these, these themes of life.
And really those two pieces are that it's just two things that I've felt strongly over
the year of, of, of kind of getting my ass handed to me or, but continuing to show up
and, and places and parts is just things feeling like they're gonna lock into
place but simultaneously everything is falling apart um and both of those are done um in the
the way I make work which is kind of this antiquated way to get source material where I'm you know
throwing myself downstairs or asking my wife to punch me in my face with a GoPro strap to a backwards cap and using that to then
mix through different digital tools. Alongside that, I've been working on another series and
I've been really deep into AI tooling and it's kind of got a big grasp on me and I've been pulled
in this direction. And so for the third piece, how are you feeling today? I thought it'd be fun to
explore that. And I've kind of got these two where I've taken these very specific things that I
wanted to get across and made a visual that represented those to me. And then how you're
feeling, I take all the feelings and I kind of ask AI to tell me what they look like and put those
together. So interestingly enough, these three pieces are kind of bridging an old to a new
for me. And yeah, it's been fun to make them and talk about them. And again, like having the
platform of AOTM to chirp about them is really great. But in short, I'd say it's all about
just feeling shit and pouring it into pixels. I wanted to double click on that feeling if you feel comfortable sharing any
details about that. But like what pulls you up out of those moments? Like, tell us a little bit
more about that feeling of being, you know, kicked down to the ground. We're all so lucky.
We're all if you're complaining and you have the internet, we've got problems. So really, you know,
it's a little bit of making fun of myself, but it's hard, right?
Like, I think we all see this on the timeline.
It's impossible not to compare yourself to the person next to you.
And this is just, again, it's not unique to crypto Twitter.
It's just life.
But I mean, what keeps you going?
It's this. What's happening right now I got to chat with
cider and ADHD and Aniko and Casey every week and like there's all these highlights along the way
it's really just what you choose to look at um and that's kind of it right like where you choose to
focus and even even the the pieces here you can look at this like, you know, this guy's getting his ass
beat or this guy's getting, you know, rolling down some stairs or like, is he floating or is
he showing up? And, you know, is he going to win this fight? I think there's, it's just,
there's many lenses to look at the same problem. And so, yeah, really, really, I keep coming and
showing up because I believe in this space. I believe in crypto art. I think what we're doing
is really important. I think that we don't understand the impact of what we're
doing just yet. And we get to be a part of it, you know, and tell our little story and
maybe someone else will tell that story later. So that's more than enough for me to show
up every day. I love that. I just want to add, yes, no, I think, Jules, I think they're
bringing up this idea of, you know, what we think what
we're doing is important now.
But I think, you know, one thing we talked about a lot, and I think this is kind of speaks
to maybe some of your revelations as well, is this idea of kind of legacy building and
thinking about context now so that people who come look at this in years' time, you
know, have a better understanding of what the narrative is, right?
And I think that this idea of this kind of taking us all seriously in a way and rigorously and thinking about this is important
and it deserves to be kind of handled as such and contextualized as such and cared for as such is a really important idea.
Definitely. And I like, Julesules too, what you were saying,
because it made me really feel like,
even though you were taking on some pretty heavy topics,
that maybe just the act of creation
was part of that process of finding yourself.
Always, always.
You can only be so serious
when you're setting up a camera rolling downstairs.
As serious as we all try to take ourselves, right? Definitely. Always. You can only be so serious when you're setting up a camera rolling downstairs. As serious as we all try to take ourselves, right?
Definitely. Always.
ADHD, I'd love to hear about the three pieces you created as well.
Me remembering when I could have forgotten, failures of imagination, and target markets,
all three of which are incredibly striking.
Target Markets happens to be one of my favorites,
but would love to hear about pieces that you created.
Thank you very much.
It's hard to talk about these in an abbreviated manner for me.
They're almost like, I feel like I approach them
like fucking research papers or
something. It's something really dorky like that. I don't know. I get very obsessive about
certain things. And I guess over the last few years, but especially over the last year,
I guess I've been sort of walking over on the darker side of things and just thinking a little bit more deeply about things that otherwise I think are easy to ignore or at least that you want to ignore.
I think that theme is sort of running through all of these works.
um me remembering when i could have forgotten it is you know very loosely based off of a meme that
i love um which is basically called me me remembering and it's just um you know a guy
throwing up and um you know there's all kinds of different um templates for it uh it's like
uh i i think the first time i saw it was like me me remembering that i um overshared
when i could have uh remained mysterious or something like that and there's so many different
versions of it but it was just for whatever reason became this really um favorite meme of mine. And I was just thinking about this. I constantly am thinking about
what it takes to live in a place in the world that feels safe.
You know, I think all of us are constantly seeing, you know, horrific news stories,
horrific news stories, war-torn areas, places where it's just anything but safe.
And I think this piece for me is like remembering, you know, really thinking about the heaviness of living in a nation that's sort of imperialistic.
And, you know, in a lot of ways, I think all of these works are about dualities.
So this one especially is about safety coming at a cost, which is usually violence to someone else. so about like civilian deaths um and um the way that nations prioritize things like that violence
over you know things like health health care and education and stuff like that um
the piece failures of imagination is about you know it's kind of about ufos in a way but it's again duality of like um mystery like like the mystery
you know um origin origin story of humanity you know i think we all think about that um
and and like the first thing you think about when it comes to like aliens and and uh ufos or at least
for me they have sort of like a spiritual like almost borderline like religious
um connotation to them um you know space and all of the different mysteries and stuff but um for me
like digging deeper and deeper and deeper into the more you sort of peel that back um very quickly you encounter private aerospace contractors and CIA psyops and hoaxes and all types of just trickery.
So, yeah, so again, duality.
Lastly, your fave, as you mentioned, Target Markets, is a piece that is about AI facial recognition technology.
And I should mention that all of these works, the way I make this series is really just a process of trying to merge life with art.
So I'm constantly taking screenshots and saving things
that I'm looking at all day long. Um, if I become enthralled by, um, you know, like a TV series or
like another artist's work or anything like that, it, it all becomes part of that. Um, and actually
when I was making, when I was thinking about target markets, I was researching this stuff and it was right around the time I
came upon Trevor Paglin's most recent project,
which is heavily based around this technology.
He's been working with AI for a really long time,
but he wrote a really cool three-part essay that got in
my head. And there's a segment about, you know, essentially like psyops capitalism is what it's
all based around. And so that got into my head and I started, you know, just going deeper and
deeper into that technology. And where it led me was like, you know, I was
thinking about the capitalism part first. And then eventually, like, there have just been all
these stories about facial recognition tech being used by like law enforcement and governments and
how it's just becoming more and more normal. And I thought it would just be really obvious that
they would connect.
And of course they do. wind up in a record very easily that those get used, you know, when it comes to like,
you know, law enforcement trying to like hunt you down for being at a protest or,
you know, a lot of people don't realize that like even like just the January 6ers,
like a lot of those people were apprehended by facial recognition tech.
And a lot of the companies that helped law enforcement do that are
deeply embedded in the facial recognition capitalism part. So it's all super fun stuff.
Yeah. Wow. So many topics that we could dive down deep into right now. And I think a lot of them are so timely with the experience of being a human in 2025.
It really does.
I mean, maybe everyone throughout all of history has felt this, but it does feel like we're kind of on this precipice of living in that sci-fi reality that used to just be in books forever.
And I'm curious if that's how it feels to you today, Eishi.
Yeah, you know, like, in a lot of ways, I feel like we're, like, just through the looking glass
were like just through the looking glass and like in like no man's land um you know something i
and, like, in, like, no man's land.
really loved about the um the write-up the editorial that um casey did like he he wrote that
um these works by me are are not a warning um they're a tombstone. And I thought that that was like really perfectly put, you know.
I think, you know, I try to be as optimistic as possible. And I do. It's funny because people who
have known me most of my life, like probably have like a memory of me being like an ultra positive
person. I mean, I even have a
tattoo on me that says PMA, you know, like positive mental attitude was, you know, a thing I really
tried to like embody for a very long time because I've been embattled by, you know, depression,
anxiety, these things. So it was like this thing that's like, you know, kind of almost borderline
overcorrection that I attempted for a really long time.
But yeah, I mean, it's become much harder to exist in that space.
Maybe just like in an automatic way anyway.
I think I still find joy.
I still find things to be hopeful about.
And obviously there's plenty of good things in the world, good people in the world,
but it's a very strange time. And I think, um, you know, talking about this stuff, I think is
empowering. And I always try to make work that makes other people maybe feel like less alone,
you know, like, because I encounter loneliness a lot. And I think some of this stuff is just so freaky and disturbing
that for me, I know that if I were to encounter this work as a viewer,
it would make me feel good.
Even though it's very dark, it would make me feel like,
oh, someone else is having a rough time processing this stuff.
Someone else is obsessively thinking about this thing that I am.
So, yeah.
I'm curious for both Cider and Jules, if any of that resonates,
if any of that stuff has kind of crept into your work in general.
It doesn't necessarily need to be the ones that you guys have with AOTM,
but that kind of, on one end, you know, doomsday, on another end, kind of processing it, on another
end, trying to be, like, or being just, not even trying, just being hopeful for humanity. I'm
curious if that has crept into your works as well.
that has crept into your works as well.
I can jump in for sure.
I know that Colin and I have geeked out on on Paglin a lot.
And we're at the super interesting time right now.
And one of my pieces is how you're how are you feeling?
The participation edition kind of is riffing on
this a bit but you know we are coming into this age where we're going to get online and there's
going to be super intelligence that is going to tell us how to feel and tell us what to buy and
tell us where to spend our time and if you don't have um you know a strong foundation of who you
are or what's happening we're going to be so swept in it. And, you know, if you think about, you know, your parent getting an iPhone or something and how, you know, it's going to get so crazy so quickly, especially with super intelligence and artificial intelligence.
And it's exciting as much as it is scary.
And it's exciting as much as it is scary.
And I think if you're an artist creating work today and you're not experimenting or you're not looking, you're going to miss a really great opportunity to kind of be a part of the narrative.
And I saw this, you know, previous to being, you know, a full-time artist.
I was at DeviantArt and I saw a lot of AI work and I saw like the
backlash of DeviantArt pushing an AI product. And this isn't, you know, it's kind of interesting.
We talk about AI a lot in art, but these kind of like what Colin said, like,
this is not what they're focusing on. They could care less about image generation.
It's just a very small piece of what's getting built. getting built so yes uh i think about it i worry about it it's exciting um it's all it's all the things but um
yeah here we are and a lot of us have kind of come here because we're fascinated with
new technology and the way that technology can positively impact the world i mean i could speak
for myself with crypto like peer-to-peer transactions, like this is great, right? And I think AI can have a huge
positive effect. It can also have a huge negative effect. So it's really on us to tell the stories.
100%. We have this really beautiful opportunity. I think the media at times can paint it almost entirely negatively, which I think only
contributes to that cycle of fear. I do think it is a really interesting time to be any version of
creator. And not just purely artist, but like, what does it look like if we have infinite memory
and infinite knowledge? And what does it look like if we, you know,
are more of the question asker than the answerer.
And there's a ton of interesting concepts
that might come out there as time unravels,
which is really cool.
I wanted to ask you guys this question.
If you were chatting with someone
who was about to collect one of your pieces, which, you know, is probably a reality in about 19 hours, and you could pick any piece from this, what would you want that collector to know?
Like, what would you say to them if you were having that conversation with them?
that conversation with them and whoever wants to go first you can go first
And whoever wants to go first, you can go first.
adhd is like this is too hard of a question
no i we always we we like have this thing in in the residency like all the time like the three
of us are always sort of like looking at each other like who's gonna go you know um i mean i i'll just go i i don't like going first because i ramble so
much and i always want to leave space but um you know essentially i i it's more about like what
what like it's for me i really like to understand why a collector was drawn to the work.
I like to know about them.
I like to, you know, I like letting the conversation evolve naturally.
I don't think anything should be forced.
And I have different relationships with every one of my collectors.
have different relationships with every one of my collectors. Um, but like, yeah, I mean, I mean,
for me, it's always just, I'm hoping that the work speaks for itself in terms of like, um,
you know, uh, where I'm coming from, why I'm making things. I'm not, I'm not making something,
um, to sell it easily. I'm not, I'm not making something to, you know, it's not like just like a product or something
like that. Like this is definitely like, this is a piece of me. And, you know, something that I've
been putting like a ton of energy and thought into is making work that really is about, you know,
is about being alive right now and everything that I'm dealing with in this current world
and things that I would suspect that they would be dealing with.
So I don't know.
It's a tough question, but ultimately I just want them to know that I'm a real person.
to know that I'm a real person. I'm not an AI and that I'm around for shits and giggles.
Shits and giggles. And I thought you were about to say you were around for the long run, but I
agree you're also around for shits and giggles too. Amazing. Amazing.
Well, I think on that note, maybe you want to talk a bit more about your process.
One thing we do talk about in the residency is I come from the traditional space where
I think understanding the process is really important and often it can be obscured in
Web3.
People like to not necessarily share with how they make things, but I do think that adds
so much to the artwork itself.
So maybe ADHD, if you want to just talk a little bit about your process.
ADHD?
Maybe he didn't like that question.
Yeah, maybe he didn't want to share his process.
Didn't want to share. Okay, fair enough.
Snyder, do you want to share a little bit of what you would say to a collector and also about your process?
Sure. Really, when a collector buys my piece, I also like to understand why they bought it or even like what made them relate to the piece.
I don't know.
With my, you know, my pieces are often distorted that I've kind of realized that people have many different perspectives of it.
different perspectives of it.
Sometimes I make a piece, I think I'm trying to, you know,
send this message and a collector buys it and says that he got a completely
different meaning.
And that's one thing that I really like to, you know, understand,
see what they thought about it and what made them buy it really.
And have the conversation flow from there.
But like really naturally, not trying to force anything.
I also say thank you.
That's the number one thing.
About my process, you know, really long time ago,
just my process was to pick images from the internet and then
manipulate them on Photoshop. Then I got a little bit tired of it and started playing with
illustrations. And that was kind of my main process. I would illustrate something and then
go back to Photoshop and illustrate it. And that's pretty much like my first six or seven pieces in this style was all illustrations.
I get even I draw from my head or, you know, trace a few things.
And recently to, you know, kind of save some time.
to, you know, kind of save some time.
And also kind of because of my interest for photography,
I've been taking a lot of pictures from things I see.
And I get these pictures, put them on Photoshop
and transform it to, you know,
whatever I want to actually communicate.
But yeah, on today's age, it's kind of a mix of all these three steps.
Really, I could even get images from the internet, pictures, or illustrate.
It really depends on what I'm trying to make and how much time I have, really.
Amazing. And how do you feel? I mean, I don't know if we got around to you in terms of,
you know, where AI might go in terms of picture process. I'd love to hear your thoughts on that, Sider.
I love AI.
Actually, the betters edition, I used AI to,
for those who may not have interpreted the way I did,
but I made a tree and that tree is a local tree called Araucario. I believe it's a
monkey tree in English. It's a very common tree in my region. And really, I was really,
it was really hard for me to get images on it. I really wanted to put that tree on the piece. And I happened to use AI to actually
get a good image of it. And that's kind of been thrown in my process. And as well, just trying to,
you know, it does make things easier. And even on, you know, my job job i use chat to be gpt all the time and i feel like
it's a tool that helps if you're trying to push against it you're kind of missing out um we had
these conversations on the air and on the program in which, you know, I don't think the most important thing
about what you're doing is actually how you communicate, what you're trying to make,
not necessarily the process. And, you know, that's the kind of truth, at least for me.
I take the ending, you know, the final product as something that's more important than the process.
The process is just, it's more about me.
I end up having fun on it.
But if I'm trying to speak or something like that it really goes out to the final product
that I'm representing I don't know if this made sense but yeah no it certainly did um I
I like your point basically that you know you have a number of tools in your toolkit. And as an artist, you're trying to navigate what to use when.
And also, you can backtrack, you can move forward,
and really to leverage all the tools that you have,
not just as the medium, but in all things,
like as your ideation partner, as your sales partner,
as your communication partner.
Yeah, there's a lot of different roles it can take on, which is amazing.
Jules, would love to hear.
You're looking 19 hours from now in the face of a collector that has collected one of your works.
What are you saying to them?
Well, first, cider.
You shouldn't lead with a monkey tree.
Monkeys are all the craze right
now you would be you know go go hard on the monkey tree um and as to what to say to the collect i
mean one i'd immense gratitude i think if you're not taking the opportunity to connect with uh
people bidding or collecting like you're kind of missing what this is all about, right? We're a very small community. And so it's good to do, winner or not, right? Having a chat is great.
Honestly, I would probably deflect. I'd have tons of gratitude and I'd probably start shilling
other artists. I mean, that's the truth. I'd share other work that I like. And again, if they wanted to offer the context
as to why they got the piece or what it meant to them,
I'd be happy to receive it.
But really would largely just try to build
a real connection outside of this individual moment.
I think there's just so much.
A lot of us got here for similar reasons.
And so we all have a lot of common interest.
And there's so much to rip on.
And sometimes it takes a piece of art or a tweet to just strike that connection.
But it goes so beyond that.
goes so beyond that. And so I just start looking beyond right away.
And so I just start looking beyond right away.
I love that message on sharing other people's. Really, I think that's like, we're talking about
this earlier, but it seems like it might be a zero sum space, but it really doesn't have to be.
Not just on this particular digital art world, but just in all of life, like the more that you
can position your life as a win-, like the more that you can position your
life as a win-win, the better off you are, which is amazing. Cool. I wanted to ask you guys as well,
how do you know when a piece is told you that the piece is finished? Like how do you know that
symbol? I'll maybe go with Jules to start on this one. I'm the worst. I'm the worst at that.
I think are far too long.
Every single person here has claimed that they're the worst person to start.
So you're an equal footing.
When Pablo says you need to upload your piece right now.
I don't know.
You know, when it's given all it can.
And even then, like even when it's done done, I sit with it for a long time.
Going back to flowers, I sat with them for a long time.
Places and parts has been done for months, and I just want to live with it for myself.
The second you put it out there, it doesn't belong to you anymore.
And so just finishing a piece is just the start of it.
It's just the start of your relationship to it.
Then you get to sit with it, and then you get to put it out there and then maybe it finds somebody and then and then
you know in part it's it's maybe up to you or up to a collector or up to the the piece itself to
keep talking about itself right if if you want the work to be important it has to be important to you
and um so yeah not a great answer there's, there's no aha. I think honestly, it means I've exhausted every single opportunity or thought to make
something better or different.
All the experimentation I can has been thrown at it.
And I, you know, I'm turning the, the, the, the clay into mud.
And then I go back and I started over knowing the direction that I was
supposed to go. That is amazing. I guess maybe the way I interpret your answer is that it's,
it's never fully done. And, you know, it's, it's really, it's like a point in time that you get to
look at that piece. Am I misinterpreting that? Yeah, your interpretation is yours. I'll take it. Happy that you're
interpreting.
Syder, how do you know that a piece is fully done?
That's like one of the hardest questions that you can ask, but
I think I can sum it up into
if the message that I want to say is being said,
if I like the visuals, and really, as what you said,
if it feels like I tried to do every single thing that I could have to make the piece better.
that I could have to make the piece better.
And, you know, there's, I feel like many people would kind of not really know the word,
but know this feeling.
But I have, when I make a piece, I have this final version.
And then later on, I have this final, final version.
And then later on, I have this final, final, final version and then later on i have this final final version and then later on i have this
final final final version i don't know it's like too many versions of the finished piece and i
happen to have you know spend most of my time trying to finish it and that's one of the hardest
you know things that i could do i have the start's pretty good. The middle part of it is okay.
And then, you know, deciding when it's over is really hard. So yeah, hard question.
I guess also part of the judgment call is knowing when to just take your finger off the
mouse or, you know, know paintbrush whatever it is
adhd how about you
yeah um this is something that definitely has like evolved for me um a lot over the years and
i think back when i was like focused on mostly like physical paintings it
was a lot easier to tell when something was done you know um you're just executing an idea for the
most part and then slowly but surely i would start leaving more room for like um happy accidents sort
of experimentation towards the end you know finishing but, but the more I've like moved into this stuff that I'm doing now, um, there's definitely an aspect of, of like
mystery and like intuitive, uh, quality that I, that I try to respect. I make this like,
make a lot of space for it. Um, and, I try to get something to the place where I know there's going to be a phase
where I'm like, okay, I think I'm done.
But I almost always know that that's a trick that my brain is telling me, either because
it's tired or because it's sort of run out of...
It just can't take
in the information correctly anymore.
So like a process that I have is that I like absolutely have to have 48 hours at least,
um, like without looking at it.
So like literally put it away, don't look at it at all and kind of reset my brain to
the point where it kind of forgets what it
looks like. And then I come back to it with like fresh eyes and hopefully somewhat fresh brain.
And I can pretty much like instantly know when I, when I take that look at it again,
like if it is finished or not, it's just like an intuitive thing immediately um but then on top
of that i think like there is this sort of weird like otherworldly sense that i think a lot of
artists probably have in some way where it's like when i look at it i'm like i'm subconsciously
i'm subconsciously feeling for like tension or like sort of like a frustration to pop up as i'm
like kind of looking over it like the gaze you know and something will bother me if if if it's
not done if i can look at it and just feel sort of like my eyes are going all over it and um kind
of going through the whole process of taking it in and
not feel that that really sharp pang of like agitation then I'm like okay I'm good and
ultimately like Joel said it's like I think there are it's just like a fact that like deadlines are
a thing right so like we don't all just magically have this perfectly finished work when something is due
um it's like that deadline is creating a reality and we are accepting that that like contract of
reality that we are like okay um this is what i'm putting forth as a finished piece
definitely i like that phrase the contract with reality.
I think that could apply to so many aspects of life. We're in a constant contract with reality.
And your point too around time is so important. Just like that fresh eyes, that beginner mindset
is critical. Yeah. I mean, I think for me, that's the same thing with writing same thing with music
if i if i'm obsessively working on something i'm gonna get to the point where i completely
lose any sense of like what it is anymore and i just have to take space from it come back to it
and sometimes it's a fucking nightmare when you when you encounter it again you're like
what the fuck like because
usually you know you you've been working on it for fucking five days straight and you're just
deranged so um yeah you're like i'm a genius and then you come back you know two days later and
you're like what the fuck was i thinking i love that yeah i love that amazing Yeah. I love that. Amazing.
I know we only have a few minutes left.
Anything else that you guys would say to your fellow cohort members?
Any other final messages you guys want to give each other in public?
You guys have inspired the hell out of me.
It's been so fun.
I've been enjoying going into your process and and um you know we don't
we don't need a otm to talk every week we can get together every week super down so just say the word
I love that yeah don't don't tease me with that I'm I'm completely game for that let's do it um
I'm completely game for that.
Let's do it.
Yeah, no, I love you guys.
And AOTM, like, thank you so much for this.
It's just been such a great experience
and a total breath of fresh air.
Yeah, thank you.
I'm down for the weekly calls.
But yeah, it was awesome being part of this really awesome group, as I said. Tons of chemistry, I would say. Sometimes I was like, this call that we had could have been longer. like only 10 minutes could keep on going you know it was a ton of fun and yeah I learned a lot from
everyone it was truly a good experience so just want to throw that out and if any other artists
on future residencies happen to get an invite go for it. It's an amazing experience.
Yes, these are definitely calls that could not actually have been emails, I would say.
So, yes, I learn so much from all of you every time, every time I learn new things.
And I'm so appreciative to all of you for the time and effort you put into this.
This is a really, really great, great session, a great cohort.
And thank you to Casey, my co-leader here, and also Justin as well. And of course,
the whole AOTM team of these working behind the scenes to do some amazing things.
And of course, to Georgia, our wonderful co-hosts who are on this wonderful spaces. Thank you.
Thank you all for joining. I would encourage everyone to go take a look at all the pieces that are up for auction um they are all over
our twitter they're all over the artist's twitter there are 19 hours left to place a bid um each of
them i think is an incredible standalone piece i think collectively they are even more incredible
and so i would really encourage everyone to go take a look at that um and then also just take is an incredible standalone piece. I think collectively they are even more incredible.
And so I would really encourage everyone
to go take a look at that.
And then also just take a look at the article
that Casey wrote about these three artists.
I think if you want a deeper dive into who they are,
what they stand for, what their pieces are,
we'll take a look at that as well.
Thank you all so much for joining.
Really appreciate it.
Thanks everybody. Have a good one. Bye.
