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Artz Friday w OMGiDRAWEDit!
Recorded: Sept. 5, 2025 Duration: 1:20:51Space Recording
Full Transcription
Thank you. another artsy friday the first artsy friday of september thank you for joining us make sure to
retweet the room make sure that we can get some people trickling in as we have a very very exciting
guest today somebody that i'm just really excited to chat with and get to know on a deeper level with y'all.
The creator of Tezzards and so much more incredible art on Tezzos, including some OG Hickett Munk art.
We're going to have OMG I drawed it up here.
Thank you guys so much for tuning in.
We do have some opening music to listen to as we let people get in here and get
omg up to the stage welcome thanks for joining us my friend this opening song and the closing song
today are going to be uh featuring uh essentially the the newest songs from the test tones season
three matchups that have already happened uh Just two selections from that. This opening track is Floating at the Beach,
and this is by Team Bigfoot.
Take it away, Kryptonio, and heat of the state, seeking escape, chill in
the water, we'll be in the shade, icing the beverage, the lemonade, that is the vibe of
the tribe, moving water, keeping the hope alive, sea reflecting the sky, clouds floating
by, the reason why we are all feeling so high.
High floating door, don't you know, swimming in the sea,
what could it be? Don't forget to Don't step.
Don't step.
Don't step. so so so
so Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, Don't stop. amazing amazing song amazing visuals uh if you are not tuned into tez tones now is the time to tune
into tez tones um it's also in the comment section we've got a post up for the space make sure to
retweet it and again thank you all for being here for another artsy friday this week our guest is
omg i drawed it i'm so excited to have you up here. How are you today, my friend? Hello, man. Can you hear me okay?
Yeah, I can hear you sound great.
Awesome. Hey, nice to speak to you. Thanks for having me.
Yeah, let's go.
Man, that myth fits honorary PFP of the Tezzers right there. It just slaps so hard.
What a beautiful, beautiful rendition of
uh tazos culture yes it's really awesome especially seeing it next to kryptonio's
classic tessards like the side by side is just hitting so well right now somebody screenshot
that please they're looking at each other again welcome everybody to the room make sure to retweet the
room this is going to be a fun space guys so omg i draw it we we have a a nice pinned uh post it's
like a thread about um some of your work some of the art that you've done on tezos people can check
that out and we'll kind of go through looking at it here in a little bit and discuss it but at first I wanted to give you the opportunity to um introduce yourself to the room and the way
you would like to if that sounds nice yeah cool man thank you um well what to say uh my name is
George you can call me OMG or you can call me George i'm not really you know i'm doxxed so call me
whatever you want really but um yeah i'm a i'm an artist digital artist um been making crypto art
nfts since on on tezos since uh very early 2021 um so yeah nearly five years now and yeah i've made some pretty cool projects on tezos
and i mean a lot of people are going to know tezads um but i've also have some other other
stuff that's like pretty well recognized as well um bedroom nostalgia for example um yeah i i make illustrations digital art um super detailed stuff uh maximalism
lots of color lots of humor but also some secret darkness woven in there um
but yeah kind of joyful art to look at on first take i love that about it it has that
yin and yang to it and that that kind of relevant humor that you know sometimes we gotta laugh at
some of the things that otherwise not so bright and um especially in this space uh like like the
timmy running to the to buy the jpeg when there's like a nice balance in that one for example
yeah yeah so as far as where it all started for you let's rewind a little bit I'd like to hear
more about like the pre web 3 era of your development and I know that you have it on
your website and stuff but I'd love for us to hear it like from you um like your experience and where it all started yeah sure um so I've always been quite a creative
person and I I like so out of college I studied music for a bit um and was really into music but
was also quite aware that I probably wasn't going to be able to make a living out of it and then I actually went and worked with my dad and I worked as a hairdresser for nearly like the
best part of 12 years so I'm pretty good at cutting hair as well and then I decided that like
that wasn't also the kind of it wasn't fulfilling me creatively either
so I wanted to to move into something else and I'd always wanted to to be doing some sort of art
and I decided to go to university at the grand old age of 27 and learn to do an illustration degree um and yeah I kind of obviously I went to university as
a mature student which I think put me in quite good stead um it was less about uh getting pissed
and a bit more about kind of completing the assignments and I came out of uni with like a
really good degree and kind of hit the ground running and was able to sort of start working
as an illustrator pretty much immediately and was getting some okay jobs and you know the
illustration commercial illustrations are really difficult career as well like you get you spend a
lot of time emailing and like getting put in like a in like a pool of of artists that are maybe like
up for a potential commission and
then like the client will decide that they don't want that or you know like someone else will get
picked for difference in fees and all kinds of different stuff you know like so so you spend a
lot of time kind of waiting to hear from a job and then like not getting it which is quite quite stressful and frustrating um and I also just found
that that like that art community for me like the illustration community was so like dog eat dog as
well and like you try and make friends with people on the internet and it just like would not happen
people just didn't want to interact with you at all and then from that I kind of like found out about Web3 and like that.
That's kind of it's I've talked about that a lot in the past and like how I kind of ended up on Tezo.
So I won't like delve into that again.
But but fundamentally, I kind of like I found Hen and I started I started minting and kind of things just sort of snowballed like very i can i swear
absolutely yeah i just like super potty mouthed and i'm just like oh yeah for sure yeah um yeah
it it went crazy pretty fucking quickly basically so a lot of people that were around, you know, if you were around in 2021, like you understand that that time was like absolutely out of control.
And, you know, I think like a lot of artists that have maybe come onto the scene since then will kind of, I hope in some ways that they get to experience it in a sense.
But I think like, you know, there's quite a lot of haunting stories you know
ghost stories from that time that they've probably heard and and uh a lot of us remember and have
felt and um yeah it's it's very different now you know but um but fundamentally yeah. I found Hickett and Munk in March, end of March 2021. And I think I minted my first piece on like the 1st of April. And yeah, that's the history there, you know.
we could reminisce over today for sure because you know i was right there with you watching you
those first bedroom nostalgias before i knew what they were and what they were going to end up
representing very much like their the initial windows you know from john then uh and then my
silly taco punks and like little 15 second sound bits because I couldn't even fit my full songs on the blockchain yet. But that was absolutely one of those times where if you put out something that was noticeable
and meaningful and the timing was just so right, it just went wild. And that's what we experienced
with Bedroom Nostalgia. and then followed by Tessards.
Like, probably couldn't have been better timing.
But I'm curious, in your perception, I know that you came out with, like,
the Bedroom Nostalgia series, and that was more like the beginning of it all.
How did that end up being, you know, the prototype for Tessards,zzards and therefore like the escalation of it
into the collection um I mean bedroom nostalgia is like it for me is like like personally in
terms of like storytelling and like what they mean to me is more iconic than Tezzids really, because it's, you know, they're so personal.
And I was just trying to tell the story like,
and that's all I've always, you know,
I've always been doing that with my art really,
is I'm just kind of telling stories that I've experienced.
Like a lot of the time it is just truth and i'm putting that on the page and then
people are finding like a connection in it i guess because of like the shared memories and
the nostalgia and stuff so it's um yes it's uh i mean i want to say like when it comes to that
i'm sorry to interrupt but i feel like you'll appreciate this point. And that's that like when you say it that way, it's even clearer that one of the things that is so special about Tezzards is that you applied the bedroom nostalgia, aesthetic and maximalism and artsiness to a PFP project instead of letting the concept of a PFP project make you simplify or take away
from that art form that is initially you. So I think it actually overall, like that's what
makes desert so iconic is the inevitable, like, like you said, more iconicness of the bedroom
nostalgia itself. Yeah, I mean, obviously, it's the stylistic choices that i make
that like that make it very unique i know i know that um and yeah i mean yeah i just draw these
things the kind of way that that i want without really trying to be too influenced on like what's
what's come before and i think like you could say you know i've i
felt that at the time specifically about the entire concept of tezzards in regards to like
how i wanted that project to be and how i felt that it was a an artistic um extension of myself
and a representation of of tezo's community like in that moment and like I got you know I had
I had so much pressure at the time on like how this is supposed to be how these things are done
and I you know I really turned around and said no I'm doing it how I want to do it as an artist
and now like four years later I'm so glad that I
stayed strong and stuck to my guns of like how I want my vision to be portrayed and like I'm you
know I think like as an artist you have all you really have is your own vision you know and I
think like no matter what happens in this space you you have to stick to that. And I think now four years later, it's kind of proved the point that exactly what I was
trying that, you know, the point I was trying to make and the vision that I had was, was
going to work.
And yeah, I'm really pleased that I kind of did that now, you know?
Yeah, it really creates a pretty magical timeline.
Even just when you go to your portfolio, like I mentioned in the gem thread, when you go from oldest to newest and experience it that way, there is something that's very, it makes it obvious, quite frankly, why you've had such success in the space and like I like to see those things because it like there's haters and you
know people that feel like it's not balanced and then you look in it's it's clear you know you just
happen to do things in a really well-timed really well executed professional and frankly educated
way you know you went to school for illustration you know all that stuff does matter sometimes you
know yeah of course like I don't think i don't think
it's like completely luck do you know what i mean like i i think i mean i you know i've always felt
that it's hard to feel like i'm worthy of the success that i've had which is like you know
that's and that's my own problem to deal with that's fine but like i've i mean see seeing some of
the conversations that have been happening like recently on tezos with regards to sort of like
you know pfb generally and like obviously stuff with the miffits and it's it's it's difficult you
know like and it's hard to be the person that's that's generating success for yourself and i know
some people just like you know's always gonna be some artists
that have an ego that was just like happy,
so happy to ride that wave
and just blow themselves up even further.
And like, I've always felt kind of guilty
and not deserving of it in a lot of ways,
but like, I'm trying to be better, you know?
But yeah, that's the truth. That's the truth about how I feel about things, you you know um but but yeah that's the truth that's the truth about
how I feel about things you know I appreciate you saying that and it's one of the things that like
I take pride in when it comes to like trying to continue making this this space something special
is like I want every type of artist from every corner every success level tier whatever you
want to call it it's so the silly
tier thing that's going on right now i want everybody to like experience that we're all
like connected and like just humans and like we get different forms of luck and different timing
and different we're in different chapters but at the end of the day, like nobody should, you know, spite you, you know, because they're, you know, comparison is the devil.
You know, to put it a hundred percent, I think like bitterness is bitterness is like fucking quicksand as well.
You know, like it, it pulls you in and then like you can't get back out.
And, you know, I've really tried to be somebody that's in this community I've
always tried to be like as supportive and as friendly and kind to everybody as I can like
can be and and try to be in as involved and and show up for things and events and everything as
much as I can um and you know to the to the maximum capacity that I'm physically and
mentally able to and what what else can you do you know no absolutely other than continue like
proving yourself essentially like just through the act of continuing to do what you do you know
continue making the art and like what made it special in the first place. And, you know, we can see some really cool development happening. You know,
mentioned in the last post of the thread that you've got this current collection going on,
and that feels like an absolute evolution that doesn't stray away from what is special about OMG I drawed it as a as a concept as like
as a as an artist idea like because I know that's something else we do in the space you know you are
George and then there's OMG I drawed it and what's associated with that part of your life
yeah I mean for real I think like also it's so hard with like the way that that social
media works and the way that kind of like artist development and kind of branding and stuff works
it's like it it's so easy to like get typecast into your style as well and then like
i you know i want to explore and i've got lots of different ideas and you know I do try and I do try and post
things I'm working on that are different and um but like I also try not to mint anything unless
I feel like it's at a point where I'm really happy with it which is why you know I've been
I've been making these kind of experimental landscape pieces and more kind of like
dithered and pixelated pieces and stuff and like i i really hope that that goes
somewhere further and i really want to mint some of those pieces but at the moment for me they're
like not they're not it's not like there's not enough coherence and there's not like i've not
fully had the like penny drop moment with it where i'm like okay this is like this is it and i've had that with my with my kind of like more um you know the style i'm
more known for like i've had that moment happen already so i just know that it's gonna it's always
gonna evolve into a piece that will work with that style but um you know i'm an artist and i
want to experiment so i'm trying to learn new tools and like and and that's kind of like how the stuff
of currents and currents is the first series i think where i've not had this like regimented
format that i that i've already like set myself into that i'm going to follow like it's not like
bedroom nostalgia where i know that i'm going to have this bedroom format and it's like a fixed
format every time.
Currents is much more open in my opinion and in my eyes at the moment.
I don't know where it's gonna go.
And I know the first two pieces,
like there's this kind of similarity
and there's the kind of like moving,
the animation is done in a slightly different way
to how I normally do it.
And there's kind of like some divers stuff
and it's different, but like it's me
at the moment like what i'm sort of seeing with currents and and just the general way that things
are going for me is that i'm so that oh there's like there's so much to say i don't even know
where to start um so i'll leave you a do you want a second
to reflect and i'll say something that currents makes me feel oh for sure yeah so this is actually
i think this goes with what you're trying to say which is that even within the name of the
collection currents you're trying to go with the flow and explore whatever is your next chapter and feel it and experiment and not
at the same time balance and respect what you've already put out and that's something that we've
all got to face and you see it in a way in this piece um autumn sweater because you know we're
moving into a new season and you've got this hint towards new experimentations and things that you've not incorporated before, but in a way that very much balances within the layers.
Like this is still me and this is still got this character that you'll recognize in this iconic illustration style.
But it's a hint towards a new chapter in your artistry, sure where you're incorporating the glitch and you know
doing it step by step layer by layer if you will yeah I mean that's that's really an amazing take
um and then it it basically it goes so much deeper than that with regards to currents as well like
so it's always I I think that like I always have this idea that when I when I make art I have
like I have this kind of like surface layer thing that I think I always want to be quite recognizable
um in terms of like the meaning and then underneath there's all this other stuff going on that like
sometimes I like to explain sometimes I like to leave it a bit more open um and and like yeah so i've been exploring
with like some digital video tools and some stuff that isn't just drawing on my ipad and
i recently i recently found out that i've got um something that's called aphantasia i don't know if
you know what that is or um i think i actually heard jams to blues talk about this describe it
more and make sure okay so it's like everybody has like different levels of visual um imagery
when they come like in their thoughts in their mind's eye and um i i have absolutely nothing i
have pure blackness so like some people like an example would be you picture an apple
and then like shut your eyes think of an apple or i don't know i don't know if you even need to
necessarily shut your eyes um but like you see the apple um and there's different levels of it
some people see like a photorealistic apple in their mind's eye and some people see like an
outline of an apple and then people with aphantasia which is what i've got is i just see
pure black and that that for me has become like an absolute fascination in terms of my explorations
because i'm like i have this insanely vivid imagination where like i have more ideas than i
can like cope with sometimes with regards to some of my work.
And I'm like, I've just found out that not everybody just sees blackness.
Like some people actually see visual imagery and I'm like, I don't have that.
And I'm trying to figure out like where, where the ideas are coming from and like what, what they come from.
like what what they come from and i've you know so so currently i'm like i'm trying to be way more
aware of what i'm thinking about and how i think as i'm working and i've started to realize that
like i i write these like and i i've been calling it like folklore so i'm like right i feel like i'm
writing like folklore stories about characters and scenes in my like inner monologue and it's coming out of my hands
as the drawing and like i know it and like like i don't know how to explain that i visually know it
but i'm not seeing anything you just explained it so well that it makes it honestly makes so
much more sense your maximalism that approach because you're getting you there's no that you don't have the
room for interpretation in your head so why give it to us when this is about you processing what
you can't see inside but you're feeling that's epic you know that's a really cool unique
explanation to what we're seeing yeah and then so like since finding out that i have this which
has only been like a few weeks
like i you know really since i started started making currents and learned about this thing and
i was like speaking to people and they were like no i don't see just pure black and i was like what
the fuck and then like the inner monologue thing as well and finding out that like some people
don't have that and like i have an insanely like i have an inner monologue that
won't shut the fuck up which is also probably why i have i have a lot of like you know a lot of my
anxieties and stuff come from my overthinking which is why i got so heavily into meditation
to try and shut up my mind and i meditate a lot i've been meditating like almost daily for
about since since i you know since i had some
like mental health issues like off the back of the kind of 2021 experience of of crypto and and
obviously of course off the back of like the tessards and and the pressure and etc that came
with that um i started meditating and i've meditated pretty much every day since then so like
nearly four years and like i've got to a point with it
where I can kind of like I almost play with it a bit and so with regards to my aphantasia like I
can I can meditate to a point where I'm kind of like riding the line between awake and asleep
like I do these like yoga nidra meditations that like take me right to the cusp of a sleep but i'll do them
like early in the morning so i'm quite awake and like i can find this point where i can like almost
ride the line between awake and asleep and i start getting like photographic visuals
that will pop in the head for a while it will be you know if you like look at the thumb and then like cut your eyes after you've looked at
the sun you'll get like residual almost like a photograph developing in reverse like that's what
i see and that's the only time that i have these like strong visuals and i was just like okay so
this this stuff is there and there's like a there's like a something between like there's a door that i'm
stood behind and i'm just trying to like get past that door and find out like what's on the other
side in a sense but also trying to understand how i come up with the visuals without seeing them in
any way beforehand and like that is all storytelling that's happening in my head so then I'll go into like a flow state and I'll be like now that I'm really trying to pay attention
to the to the um like conversation I'm having with myself I'm realizing that I'm like writing
this story writing the story like all the time and the story is like this object does this and
it means this and you know this character means this and
these things need to be here and etc and why and there's so much like law being written in my head
that only like I even know in that moment and then the whole piece kind of comes together and then
it's like oh here we go in that sense, it almost sounds like a form of improv.
Right. Yeah. I mean, you could say that in a way.
And it's really cool to hear.
I really appreciate you giving us that kind of deeper dive
into that process and the why.
I think it's absolutely, at least especially for me,
even as I'm looking at um currents you
know that's one of the things i love about these interviews i i continue seeing and loving
everyone's art like more yeah i mean i think like added context is so so unbelievably important and
i think that like it's really hard to get people to to like look in deeper sometimes and like i always
really appreciate when people do because of the fact that like i'm i'm trying to you know i am
trying to kind of add like have some like contextual depth with my work beyond just it being a pretty
illustration and i think sometimes because of my style it's easy to like look at it and be like oh colorful kitty
drawing cool oh man move along do you know what i mean so like you have no idea how much i know
what you mean because like as a singer songwriter that's my whole life is like the use of words
and communication and like like community it's like i'm so deeply passionate about things and
then i feel like a lot of people look at my, you know, super, super like hyper-realistic AI art and assume that that's all, it's just a pretty image,
but there's like, like a lifelong, like passionate message I'm trying to intertwine into it. So I
totally relate to that. And it's a frustration I feel when I'm reflecting. But what you said,
yeah it's a frustration i feel when i'm reflecting um but what you said go ahead i was yeah i was
just gonna say like it and like i in no way think that you like have to have meaning behind your art
like either like i think that art is just art and everybody's welcome to be a creative and
and people should just make stuff and like that's amazing and beautiful and i i'm like an absolute advocate for everybody
just doing what they want really when it comes to well anything to be honest with you but especially
with art and but like at the same time if you are putting in you know if i'm putting in this like
additional like ideas and and concepts behind it like it is always nice to have the opportunity to
explain that to people and talk to people about more about my art and like where it like it is always nice to have the opportunity to explain that to people
and talk to people about more about my art and like where it's coming from and and yeah and i
mean obviously the the aphantasia thing is like a new a new thing for me and it's a new exploration
that i'm doing but like before that i didn't realize i had that i just i was just making
these crazy scenes and like but again it always
came back to the fact that I was telling a story and that story was always my story and or like
the story of the things around me and I think that's you know the connection is always there
because of the fact that I hope at least people will look at it and be like you know they see the see their own kind of version
of their memories in it and that's like a nice connective thing for the for the viewer and the
artist you know it absolutely is you know and you have the background as a musician and you know so
there's that also kind of connection of how things make people feel when they're consuming your creations.
I imagine there's that layer of it too.
And then going back to the improv, I do feel like that's a balancing factor.
And you're not overly planning or trying to force a message that's impossible's impossible when you're in the sense also doing improv within your work.
Yeah, I mean, I guess I guess. Sorry, I just want to find what I was trying to say in that is that like when you as an artist are just creating because you want to and because you're trying to process and understand yourself.
It's that's kind of like you're inevitably telling a story without having to try.
Yeah, 100%.
I just want to reset the room real quick and say hello to everybody because, wow,
this room is filled up with a lot of epic faces.
And thank you for being here, everybody.
This is Artsy Fridayiday with tezos commons when we were chatting with omg i drawed it about his experience as an artist as a tezos
artist um in like the process it's been a lot of fun thank you for being here make sure to
retweet the room we do this every friday interviewing various artists in the space to
get to know their story better um and then on top of that, I do want to mention that
Skulls Army, we did see your request. We're going to have you come up here a little bit towards the
end of the show. Really excited to hear from you. Always a pleasure. And thank you guys again,
everyone that's in here. Make sure to let people know that we do this every week. We love to book
more artists and hear from you. And real quick, I'm going to read through a couple little announcements and then we'll move forward.
If you're tired of doom scrolling, just stay in the loop, guys.
The Baking Sheet has you covered.
It's a quick weekly digest that pulls together Tezos news, big project updates and community highlights all in one email.
You can check it out at baking sheet dot Tezos comments dot org.
Also, of course, we do the Tezos Community Rewards Program,
a long, outgoing, powerful incentive where you can recognize the people showing up and building
in the space. If someone's making an impact, make sure to let them know and let us know by
nominating them at tezoscommons.org slash rewards. You can also hashtag under a post,
hashtag TezosCRP. This is a really big one, guys.
It really helps a lot of people keep going in hard times.
Let's know that they're being seen and that their work matters.
And then one more thing, the list for Tez article nominations is running low.
I would genuinely personally appreciate you guys giving us more nominations of artists to write about and give a spotlight to in our monthly article.
If you know somebody that deserves more of a recognition and a deeper dive into what
they're creating, I personally, it's one of my favorite parts of my month.
I absolutely love diving in and learning more about these artists that you guys continue
nominating.
if you see somebody just hashtag hashtag tes article and with that being said i do want to
If you see somebody, just hashtag Tez article.
have a little bit of conversation with you um about this pfp revival and like the recent like
craziness going on um with the myths myth fits and some of the uh some of the recent desert sales like how are you feeling about all of it i mean yeah it it's it is cool obviously like i always want my projects to be successful
um it's kind of hard in a way it's sort of like i don't know it's like asking it's like asking
an actor about a movie they were in four years ago you know totally yeah but like but at the same
time like obviously like it took me quite a long time to kind of come to terms with with hazards
and like like I said at the start of the show like it was a lot of pressure that was put on me
and it's only really been like more recently that I think I've been able to look at them and enjoy
them in the way that others have.
And that's like a really nice place for me to have gotten to because, you know, I had a it wasn't even so much that like the the stuff that happened, like my my breakdown in 2021 was not entirely like like weighted on by Tezads anyway it was just like it was just part of the part of
the time that when that was happening that it kind of like then sort of led me to feel like
quite traumatized by it and like I couldn't look at them do you know what I mean so it was really
it was quite shit and like now like it's so nice for me to like see that people still love them and like to appreciate myself
like why people love them and like you know trying to trying to kind of like make a an irreverent
pfp project that like i said was like an anti-brand and like you know so many people say to me like
they're the punks of tezos and like i have to try and say to people that they're the tezads of tezos and like i love tezos and like i want people to understand
that that like they are punk like not maybe not in the like the most traditional sense because
they're because it's not political but like in terms of blockchain politics i think that tezads
are way more punk than a lot of other shit um and i think that tezos is way more punk than a lot of other shit and i really appreciate
that about it and about them and i hope now that like four years later me saying that that's what
i was trying to do and trying to prove could be done people have sort of fully come on board and understand that now um and like yeah it it's
it the truth is is that i always had you know most people always loved them and were really kind and
genuine and like and cool about them but like inevitably you have something that's so financial
ized like hyper financialized that you you inevitably get people that are just
cruel on the internet and like i would say that now like obviously we've just kind of seen a bit
of that happen with the myth as well like in a different way but like who knows whether or not
they go like completely crazy over the next couple of months they probably will like it's you just
never know what's going to happen with this
stuff and like it's so out of the hands of the it's like so out of our control as the creator as
well um and you know it's it's difficult when you get put under a magnifying glass and like
i really feel like i feel for the myth a little bit last week when there was all that the the
kind of stuff that was going around and like yeah you could you could easily like i feel for the myth a little bit last week when there was all that the the kind of stuff that
was going around and like yeah you could you could easily like i know that it wasn't especially
directed at him as well in a way but it's just like it cut these things come at an interesting
time you know they always come at an interesting time and it's like hard to i if i was in his
shoes i'd find it hard not to feel like i was basically being targeted um even if people
were saying you weren't being and like at the end of the day you're like we've been here doing this
a long time and like the myth is a fucking og on tezos and like he deserves the success and
i think i've i've showed up for the community for the whole four years since i've made tezos as well
and like if people still like them enough now to want to buy them like then they should they can like do whatever you want like
at the end of the day it's out of my control since i minted them that first day you know
after that after that there's nothing i can do about it so like you know if people want to hype
them up they can hype them up if people want to fud them they can fud them i probably fud them myself enough by like saying that i'm not going to ever make any
fucking t-shirts or whatever do you know what i mean like but that was always conceptually part
of it for me like i wanted to make it that these things were like kind of actually punk
but you know what's interesting is that it's a somewhat parallel and i don't we don't
have to dive into this too deep but it reminds me in a way when you say it that way coming from you
of what hick at nukes started as and how it ended and how like as much as it was obviously intended
to be a thing and it still was in a way at the end, it got commercialized.
And like,
so like there had to be some balancing there.
Yeah.
And,
and that's interesting because you are a,
a valid voice to hear that from,
to kind of also understand more,
maybe Raphael felt.
So that's interesting.
I just wanted to point that out because I personally was thinking it as you
were saying that.
But that is a very, very valid point and something that I tried to make very clear
in the recent article about, um, a Tesla's PFP art revival.
And I just want to read this one portion to kind of like drill home what you were saying,
which is that like, if, if, if the theory of PFPs and like them bringing more activity to the chain
and therefore newcomers that are going to discover all the other art.
And I really encourage everyone to read this article.
It's in the article Stabotasos Commons handle.
But this last part, I say, I ask artists not to let other success make them fall victim to comparison.
Use it as motivation.
Ride the momentum and be part of the memories we are bound to make pay attention get involved and enjoy the ride you know it's like
it's simple but like we need to let each other celebrate our wins and not yeah soil them in the
moment and that's one thing that i i'm gonna go on a tangent if i don't say this
right now that i'm gonna try to make this short but in the game show chat for example which nobody
but game show members from the whf game show would experience i kept feeling this experience of
why is it feeling nothing's ever good enough for us in a way that like every win somebody comes out
of the woodworks complaining about it and that's one of the things that in a way that like every win somebody comes out of the woodworks complaining about it and that's one
of the things that in a way is very special about the community and that gives it that rebel like
mentality but we we gotta let people at least enjoy the wins you know yeah i mean it's like
we said at the start like when i said about bitterness being like quicksand like i think
that like i i absolutely love tezra's community and i
think that it's full of like some genuinely and made like truly amazing people that are funny and
intelligent and really fucking cool and but my god like we're so good at fucking tearing ourselves
down as a community as well and making ourselves look kind of like pretty
ruthless and stupid sometimes and like i think that the the thing is as well is like it's crypto
twitter and like there's some kings of posting and like i love a post as much as
another person but i think that there's like maybe maybe a bit now as well like the concept
of posting has gone like a slightly different
way to how i sort of thought it was because i always thought that shit posting was like
making a jokey comment that's like taking the piss out of yourself slash like something that's
happening whereas like it seems that people think maybe shit postings kind of turned into a kind of
almost like a bullying concept or like an opportunity to be like to kind of like
show a few show how like bitter you feel about stuff right it does feel that way there's like
a weird like line and like i get that also like everyone's from all over the world and there's
like massive language barriers and uh you know i've posted stuff where people obviously have just completely missed the joke. I mean, you could say that happened with deserts.
But, yeah, like, I don't know, man.
It's hard.
Like, you can't control anything apart from, like, all you can do is, and as I said earlier, like, I just try and be like polite and honest and kind to people because that's all I've ever wanted back.
And absolutely.
I don't know what else to do, but like people will always just be, you know, the internet is full of trolls and it's full of bots and like,
like and it's like you're also really trying to like reduce the amount of time as media because
it's it's poisonous to be honest with you and like such a mass distraction for me as well like
i find it so hard to get get things done if i'm um if i'm not like off the, off the internet really.
yeah,
it comes down to that everything in moderation kind of mantra where you do need to touch grass.
And speaking of shout out to your OE for a gift day.
Everybody should absolutely check out the reverse engineered concept of if
computers,
I'm assuming like LLm's dream of touching grass
really really cool piece thanks man thanks man and like it's kind of like a homage to my
to my um gift day piece last year which like i was really worried about minting because it was like
i felt like it was quite a big change stylistically and um you know i worried about whether or not i was effectively like going
to mess up my aesthetic on my object page and you know stupid stuff that questions that
artists ask themselves and um it's kind of supposed to be like it was supposed to be like a kind of uh
uh you know a continuation of that piece and over the year like i've i've developed those kind of
like skills like using uh blocky colors and painterly techniques and like the other ring and
and animation and and make something that's kind of like inherently me but also like a completely new thing really like no line work
like literally no line work on that piece um it's really cool it's um like like i said about your um
your other recent piece from current it does have that you can still tell it's you and you can tell
that you're going through wanting to push into a new chapter and balance the aesthetic of
what people recognize and you're doing it well you know just to say it like i get the struggle
like i'm the other end where i've just never let that worry affect my object page so overall it's
all over the place but like i respect that and you're doing it well. And, you know, it probably it matters that you care.
And that's that shows.
But we do have somebody I love hearing from.
It's probably got an excellent question from you.
Skulls Army, how for you?
Skulls Army, how are you today?
I'm doing quite well.
This is this has been such an enjoyable experience hearing this.
Thank you guys so much.
I got to say, you know, hearing a Tezos OG,
it could have been a fluff piece of an interview,
but this has been meaty.
This has been so good to listen to,
and it's just an awesome time spent.
So first, I want to say, George,
you and I have never had the chance to speak together,
so wonderful to meet you. I'm a huge, huge fan of your work. I think you're easily one of my favorite artists on Tezos. And Tezz all the time and finding out that you're a fantastic is like such a mind blower to me because I've always looked at your work and I'm not like
fully I don't fully have a fantasia but I definitely have I have trouble being able to
really visualize a whole piece and the whole composition. And I, I, I will usually
dive into it with an idea. And then it, it sort of comes together between what I aim to achieve
and what I actually can. And I find some middle ground that ends up being the piece. And I always
looked at your pieces and I'm like, all of these different patterns and compositions and all of this detail.
How does he picture that in his head?
And now I'm finding out that you don't at all.
And my mind is blown.
And I'm like, do you, okay, like bedroom nostalgia, you're doing a bed.
Are you thinking, what kind of pattern am I going to put on the blanket or are you sort of removing your conscious
mind and just letting your art like your other mind draw like what how do you do that hey man
thanks for the question I appreciate that um yeah I mean this is this is kind of what I've
been trying to explore myself like when I say I was trying to pay more attention to like what i'm thinking about and it is like i i i don't even know how to describe it it's like it's like i'm reading a book
rather than like seeing a film but then like the book the words of the book are coming out visually
on the on the page rather than as words and yeah I mean and the other thing
I don't know if I kind of mentioned this earlier but it's like I have like a knowing like and I
don't know how to explain that either but it's kind of like I try and like come up with a way
of explaining what I mean by that like it's like um it's like you're stood outside your house and you know everything in your house.
You know what's in your house fully, but you're like stood outside behind a closed door.
Like, I think that's like the best way that I could explain it.
So like, I know the stuff that's there.
Like, I can see it, but it's not visual.
I can see it, but it's not visual.
And like, I don't know how to explain that.
And I don't know how to explain that.
I'm sorry.
But yeah, it comes out in this flow.
And I'm telling myself this constant chatter of ideas.
And it's like, that's why I said about it being folklore.
So I'll see the character coming,
the character will come to me,
and then I'll be like, what's this character doing?
I mean, a perfect example is if you look at the first piece is it the first
piece no this most recent piece of currents the autumn sweater i've got this kind of like this
this skeletal kid sat on the um pier and like my brain is like he's got a hammer and like what's
he been doing with the hammer and why are there bones in the backyard and like my brain is like he's got a hammer and like what's he been doing with the hammer and
why are there bones in the backyard and like whose teeth is he feeding the ducks with
and like all of this stuff is like i'm i'm like writing the story like in real time as i'm drawing
it and it's kind of like it's a flow it's a current and and like i i i'm fascinated by it
myself and that's why i'm trying to explore it more but like
i i kind of feel like at the moment i can't really give the answers in a sense because i'm
not even really sure myself that's so cool can it just like exudes uh lore you know
every one of your pieces it you can feel like there's a whole world outside that window that
you don't get to see and you're just getting a snippet it's not a framed piece of art it's like
man if i could just look right a little bit there would be so much more cool stuff to see yeah and i mean that that's kind of like something that i've always like
strive to do as well like and i think i used to have this issue where in when i was in university
my i did i did an interview with somebody the other day and like um we talked a little bit
about university and my universe my teacher was just like that.
You can't have a composition like that.
It's like way too cluttered.
There's like, you can't have characters going off the,
off the screen, off the, off the page, you know?
And like, I was like, no, you don't understand.
Like he's going off the page because I want the person that looks at it to be
like, where's that guy going?
And then like have this whole nother experience about what could be going on so it's always like conscious like i'm i'm thinking a lot about like what's happening
and like where it could be going but you're just getting this like one like screenshot of it
basically um and it's the same with the objects and the piece like i'll litter the pieces with
objects and like i have always got like some sort of lore or meaning going on with them,
even if it's just in that moment that I'm coming up with it.
And sometimes I can't even remember it afterwards.
But my brain is writing a story as to why that object is there
and what it's doing and what it means.
And yeah, I've been trying to document that a bit more
so that i understand
myself that's that's great the other thing i wanted to say and this is more um just me being
like a nerd for your art one of the cool things i think about your pieces and i think if anybody
looks at bedroom nostalgia 27 it's perhaps like the best composition for this, but like you have an ability for me to take a still frame and anywhere you look, it's got this drama inherently like, like bedroom nostalgia 27.
Number one, the, the pillow is my favorite thing.
Cause I used to play that skiing game with that stupid Sasquatch.
You love that pillow that, that brought that back to me but like everywhere you look like the sasquatch
is almost catching you on the pillow the the the car is about to fall off the edge on the track and
it's you know a straight drop and on the other side the car is going to hit the the action figure that's laying across like there's
it's all like it's just before drama and you can feel it it's it's just well composed thank you man
yeah i appreciate that and like it is yeah i mean it's again like it's it's my brain like
making this interesting story and like i guess it always kind of finds the point where like
the most interesting thing is about to happen but you don't ever see that
yeah it immediately gets my mind like i can immediately picture those things happening it's
you know yeah it gives it a suspense um a little a level of cinema to it even um as well as what we were talking about earlier
where there's like a little painted humor of some darkness um and that's one of the things that
i guess one of the earliest things earliest examples of something that i could compare this to
uh is i just came to mind so i hope this isn't like somehow offensive but like i'm thinking like where's waldo from back
in the day and how like as you're looking for waldo there's so much story to discover in the
characters yeah i mean like that that's that's dead on man because like i i mean we in the uk
we call it where's what it's called where's wally um but i had a bunch of those books and i would
say that like i definitely would say that martin hanford is like a massive influence and those kind
of like i think it's called wimmel builder like i think it's like a german um originally like a
german concept of like of like crazy scenes that are just like totally maximalist and um
and like there's no doubt in my mind that that had a huge influence on me when i was a kid like
i had a bunch of those where's wally books or where's waldo and like yeah i mean that that
like that's a level of like narrative building that like you i i can't even really fathom do
you know what i mean like looking at each each section and each character's got their own story.
But like definitely that's something that I'm not,
I wouldn't say that I'd kind of like set out to do that,
but it's just sort of what's happened, I guess.
I love it.
It's so cool to just hear these thought processes out loud with you.
And again, thank you everyone in here for being a part of this.
We have a little bit more time.
If anybody else does want to come up and ask any questions,
but we probably should cut it off after maybe one or two other people come up here
because we do still have a closing song.
And OMG, thank you so much for giving us the time.
This has been an absolute pleasure.
Thank you, Skulls.
Great questions. And yeah, this has just been so much for giving us the time. This has been an absolute pleasure. Thank you, Skulls. Great questions.
And yeah, this has just been so much fun.
Thanks, man.
Thank you, guys.
I actually, I got a drop for work,
but thank you so much for letting me come up
and ask the questions.
I'm sorry to cut you off there, George.
Thank you so much.
This has been an awesome experience.
experience. Thank you.
So if you wanted to, we could talk a little bit more about the
landscapes. I know that you've got some really cool things going
on with that that are, you know, not minted and some side
quests, as you put it, which I love because I often refer to
life as a video game with a bunch of side quests.
Yeah. Yeah yeah there's so so like basically i hurt my i hurt my hand or my wrist i got i had rsi in my wrist for like
i don't know must have been like nearly six months um and i was like struggling through
it for quite a while but then like i realized that
you know i went to went to a um physiotherapist and he was just like what do you do and i was
like you know i'm an artist and said that i do these kind of like quite highly detailed intricate
line work drawings and they were like yeah you're gonna have to stop doing that for a bit to like
let this let this kind of heal and um i'm very i struggle a
lot if i'm not like able to do something creative with my time like i i find that it's the only
thing that really kind of gets me zen enough to kind of exist so um yeah i have to i have to be
doing something with my hands like all the time and um i was like what what can i do and i just like
started making these much much looser broader strokes and then um that's actually what kind
of like led into the the skeletons can't swim piece which was last year's gift day piece um
that came from that kind of concept of like not doing the line work doing much looser broader strokes but
like still kind of trying to find this like quite detailed and a maximalist effect without needing
to put in like loads of objects and details in in such a specific way and um and i guess you could
see it you could see that fully as well with the with the gift day piece that i'm in today it's the same
kind of approach like it's very loose um but still lots happening and like very vibrant and um yeah
so i started making these landscape pieces and like playing around with with glitch and um
to be honest i i went to i was at i went to rgb montreal last year and like i'm some of my best friends in the space
are the guys that run that that show and um i'm very close with them and and uh sabato and and um
eight so who i went to eight so studio and like i had he's got like a full on, like a studio full of analog glitch, like hardware.
And I was just like, oh my God.
Like, cause obviously being somebody
that was massively into music,
like I didn't even really realize
that there was these kind of like visual synthesizers.
So like, I'm just suddenly like, oh my God,
like I need this in my life.
But at the moment, like I haven't got any space. Like I don in my life but at the moment like i haven't i haven't got any
space like i don't have a studio at the moment at all like i actually like working out of a
spare room in my mum's house at the moment which is kind of like i don't know sounds a little bit
sad for that you're a little but um that's kind of where i am at the moment i don't have space um
to sort that out like i still wanted to have play with glitch so i started making kind of where I am at the moment I don't have the space um to sort that out like I still
wanted to have play with glitch so I started making kind of like digital glitch stuff using
various you know online tools and there's stuff on procreate you can do and and um yeah I kind of
I started making these sort of glitchy landscapes and then I posted a few of those out on Twitter
and then people were just like oh my god these are awesome and like I posted a few of those out on Twitter and then people were just
like oh my god these are awesome and like I had and the thing that the thing that's also really
cool but also like a bit of a I don't I don't really know how to explain like it's kind of
weird but like getting approached by like much more of a kind of fine art gallery sort of
crowd around those pieces and just being like it's cool because
it's like okay they're noticing me but then also it's kind of a bit like uh you're interested in
this but not kind of interested in all of the stuff I've done up until now um but but yeah like
I I feel like it's kind of it's attracting a slightly different kind of crowd as
well and like at the end of the day that's obviously good it's good for my career but um
but like i said earlier i've not i've not quite found the the time or quite had the penny drop
moment with them where i really feel like they're ready to be anything and um and i'm always
exploring like what the the concept is with that as well
because the truth is a lot of those landscapes are purely from my imagination and then again
it's like i'm imagining it but i'm not seeing it so like it's um it's like where what is that
where is that place and uh actually um the the kind of project idea that i'm working on i like
i i feel like i i don't know if i even want to say what it is about because i'm worried that i
won't have time to do it before somebody else nicks the idea but it's kind of like involving
computer games and like nostalgia as well so um yeah kind of landscape a landscape series but it's frankly i don't think you have
to worry about people doing your ideas because they're just not going to be able to do it
the way you do it they're going to do it their way yeah sure so it's going to register differently
even if it is the same message at least that's how i see it but yeah i mean i suppose
so again it's kind of like i always have this like i'm so fascinated by memory as well and like
a memory a thing for me that's really like poignant with regards to memory is like remembering video
game graphics so like my my memory of m64 graphics is like that they were like really like amazing insanely amazing you know
like unreal but then like i got some and i got an emulator and like some roms and stuff and
started playing some old n64 games to like kind of get some some like nostalgic ideas and i was
like oh my god the graphics are so shit and then i was like where like what is
that as well like what is that that kind of like it's like a false memory right and i'm really
intrigued by that and that's kind of something that i was wanting to explore in these landscapes
so it's kind of like looking at the concept of memory within the sort of like video game aesthetic
i love that and you know that's that
is super relatable because i think most of us that have gamed over the years have a similar
feeling of like that seemed so much cooler then and now it looks like trash yes you know but it's
also about like imagining myself like in the game um and then kind of like imagining so it's like um i don't know perfect example would
be like uh going into like a the the like the fields in like lynx awakening it's like a 2d game
and then trying to like imagine myself there and then trying to like make a landscape based on my imagination of being in
that world that's like a 2d top-down game um that's that's kind of what i'm i'm working on
those kind of ideas with it so it's like and then the kind of memory element and like the glitch
element and like putting it all together and trying to find and build something that's that's new but also kind of feels like it's me or like like conceptually has some some like connection with what i've done
previously you know i've personally struggled with this feeling of like frustration that the
art world pressures artists once they've been accepted to continue doing what they were accepted for um and we've
talked a lot about that today but more and more that i get to chat with artists that are
essentially victim to that um it becomes a an interesting part of the narrative and story and
kind of like when i think about on-chain art and how the the way they're forced
to create stuff in so much smaller amount of file size yeah um it's that same energy of like i
realized that there's something about that pressure that does honestly create something cool and unique
yeah where that story is almost forced to have that balance 100 i mean even again
bringing up the the gift day piece from last year like that was also i was exploring the concept of
of compressionism and like making it small enough to mint on chain and then like i i still haven't
got around to to kind of having something that I've wanted to mint on chain or like, because the truth is, is that I still find that file size very difficult for me for like, with regards to making something I feel is like, good, good looking enough.
of lent into the movement of like um of it looking like the aesthetic being that it kind of looks
like i don't want to say bad because it's not that but like it it's like a a broken down effect that
like the artifacts and and um and the the degradation of the of the work that comes from
the compression kind of parallel to the what you're talking about with gaining
going back to when the systems were smaller and couldn't handle is is like when when it was unreal
to think of a game being a gigabyte yeah totally so similar idea honestly yeah look back and there's
still the art to it and the memory to it and huh really interesting i hadn't drawn that parallel
yet but i yeah so i can't i haven't quite found like again like a an approach that allows me to work that small um that that i feel
like does the idea that the justice it deserves so until i kind of crack that i'm probably not
going to mint something on chain because the truth is like i know that obviously with with
the new contract that um the on some of the on-chain stuff you can do now you can mint a bigger file size because it like breaks it down
into multiple transactions but then like in a way it's almost like what's the point of that
do you know what i mean like it's kind of the the um the idea for me is that like you're built you're
making something new because of the restriction and like that restriction is making you have ideas and and come up with stuff that's like outside of what
you'd normally do but but if i can just if i was just like oh you know what i can just mint a full
size omg piece now anyway like because the transactions then all be like linked together
but it cost me like 100 tes to mint it on chain but i could do it but like i kind of feel like that's not really the
point yeah there's a there's a valid debate being had actively there you know as far as like the
benefits to something being on chain or not um and i kind of i'm right in the middle where i can see what you're saying
and i can also see where people are really passionate about things just in general going
to on chain yeah um it's it's you know we're i think it's like super cool like it it's a really
awesome concept and i really like it it's just like i don't know it just it feels to me like it like uh it would be it would kind of
be like a false use case if i just like minted like a normal bedroom nostalgia and put it
on chain it needs to like have that compressed element to make it feel like it was you know
exciting for me to do that and i think that's kind of why i haven't done anything yet because i
because every time i kind of feel like i get close i like look at the piece the next day and i'm like it's like it it's
like not it's not right it's not good enough it doesn't it doesn't have the the feeling and it
needs to have the feeling you know like especially specifically as a maximalist artist you're dealing
with an extra layer of challenges when it comes to that
specifically oh yeah 100 and same with me as somebody that you know i'm making most of my
visuals to go with the music and then you try to consider that getting compressed and it's just
impossible so like i get it um but i also again i feel like i do have a pretty exciting exciting feeling when i think
about the potential for what they're doing in the developments within on-chain art for sure
yeah so we are actually reaching a little past what we usually go because this has been such
a freaking awesome talk but i don't want to keep you too long either um sorry how are you feeling
wet my whistle a second yeah cool man we can carry on for a bit if you want like i'm
um my my wife becky is a photographer as well like she works with me as well and i'm sure like
many community as those community people know beck either through Twitter or um or from events and stuff
but um she also has is been just just really started in the last sort of like last year
working as a photographer and she's trying to build herself up and she's been um on tour in
Scotland this week um she went and like did some bands like photographing a band on tour like two
bands um and she's in scotland and she's driving home from scotland today so like it's friday night
but i'm like i'm home alone so uh we can carry on for a little bit longer but yeah i would i would
like to have some dinner soon but but yeah i'm i'm not like i'm not pushed or rushed at all
well great it's been so much fun and again if anybody has any questions we probably have time But yeah, I'm not pushed or rushed at all.
Well, great.
It's been so much fun.
And again, if anybody has any questions, we probably have time for one or two more requests.
I just wanted to check in with OMG to make sure that was okay.
And again, just a reminder, guys, Test Tone Season 3 has fired up.
I think that's something very special in this space that combines the visual and audio components of what we are doing here brings a bunch of artists together around the world and they've already
gotten the first two matches in with another one tomorrow where actually my team is going to be
doing its first match so pretty excited about that and then, if you check out the Tezos Commons handle, you will find some
amazing articles catching you up on things going on in the space, giving you deeper dives on
different projects, as well as a recent article of the month. So make sure that you check out some
of the artists that have been spotlighted just this week. If anybody else wants to come up,
spotlighted just this week.
If anybody else wants to come up,
now is the time.
Last call.
If not,
we will let OMG say some final words
and then close out with some music.
And by the way,
shout out Paper Buddha.
Thank you so much for being here.
Really excited.
It seems that we are going to probably get to chat
with Paper Buddha over in October.
Super, super pleased.
And I hope you enjoyed this interview with OMGI Drawed It,
as well as NotYatList, Blangs, Art.
We got Reza in the building.
We got Maria, Juniper, Ellie, Tezos Community, Fendl, MB, One of One Neo, Rubisco,
Full Pouch.
We got Testos in here.
We got Katarina, Ion, TechMental, Randall. We got Testos in here. We got Katarina.
Ion Tech Mental Randall.
Wow, what a cool room. We got
Red Alarkin here. Bill Knight. Thank you
for sticking around through the whole show.
We've got Tezos to $100.
I agree. Let's go.
And the Artist Network.
Anybody else that was tuning in today, thank you
guys so much. Make sure to retweet
these spaces so more people know that they happen every Friday at the Teso's Commons handle.
OMG, George, thank you so much.
Do you have any closing words for us?
Yeah, I mean, like, obviously, I feel't I don't get the opportunity to say enough but like
I I'm so grateful for like anybody that's still supporting me and like supporting my artistic
journey whether that's having conversations with me online and I think actually like that's one of
the things that I think has really like died off is that um with with kind of less hype with things like there's less conversation happening with regards
to my art and like and the truth is it can be like quite lonely sometimes you know being an
artist online I'll like sit in a in a studio um on my like you know sitting on my own drawing all day
like it's quite lonely and like I'm always happy to talk to people especially if they want to talk about my art and also just like thank you for yeah for the the people that still enjoy my art
and collect my art and um and like like what I do and uh it's genuinely appreciated and um I hope
that I I give that impression when I can and if not I'm saying it now um and yeah check out my my piece for gift
day um and also check out everybody's piece for gift day i think gift day is like one of the best
if not the best like community event on tezo is like the amount of insane work that gets put out
is crazy and like there's so many good pieces and it's so cheap like you know it's
definitely worth having a look have a look at that hashtag and and I think like I posted my piece and
I told people to add theirs to it so if you've made a gif feel free to add it on there and I will
look at look at it over the weekend and I'll pick some pieces up um and yeah you'll see some hopefully
see some other people peoples there as well.
And I think that's, yeah, that's all I've got.
Well, again, thank you so much.
To close out, we have another Test Tones piece
by the team that has named themselves Zero Time.
This one is from the most recent match two.
And the song is called Panda Walking Sleep.
Again, thank you guys so much.
Kryptonio, thank you for always being an amazing co-host.
You can take it away. Thank you. Music Music Music
Music
Music
Music
Music
Music
Music
Music
Music
Music Music Music Music Music Music Everything is painted bright
Yeah, you lie down where we drown in the night
Your eyes, red eyes eyes still close
Wondering a fragile mind
Flying through the coast of the world
That is mine
Stunning.
What I really find interesting, and I want to remind everybody about the opening and closing tracks,
is they're pinned in the comments of our post for the space, first of all.
And as always, if you enjoyed it, you'll enjoy it more if you go listen with headphones
while watching the amazing visuals that are a component of it.
But I just want to say that both of those songs
were made live on the spot under pressure as part of the new essentially like tv show style
competitive art making that is tez tones please tune in and check it out guys it's been going on
for three years now and it's all tezos people so So we'd love to see your support and just kind of get that more as part of
the daily buzz because it,
to me in my eyes,
it's why I keep going back and being a part of it.
It's real,
genuine,
raw example of what's special about this space.
So thank you guys again,
because also artsy Friday feels the same way to me.
And I appreciate you guys continuing to show up and tesla's commons continuing to make it possible and the artists for continuing to come
and tell us their stories we hope everybody has an absolutely incredible weekend continues being
artsy and we will talk to you soon take care guys we love you you Thank you.
