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Curated Drop Talk: BUSY by James Merrill
Recorded: April 7, 2025 Duration: 0:37:27Space Recording
Short Summary
James Merrill's latest project 'Busiest' is set to launch today, featuring unique digital artworks and an auction for collectors, showcasing the intersection of technology and creativity in the evolving digital art landscape.
Full Transcription
Thank you. you GM, GM, want to do a mic check, Eric?
Morning.
Morning.
James, how you doing?
James, how you doing?
Just want to do a mic check, see how you're doing.
Yeah, Jordan.
Hey, what's going on, Jordan?
Do a mic check.
Hey, GM, GM.
GM, great.
Okay.
And James, I think we're the only one.
Let me add you back on.
Hey James, does that work now?
Yo, can you hear me now?
Yeah, I can hear you loud and clear.
Awesome.
Classic case of using my fancy microphone and headphones and then it never works on the spot.
That's how it is. We'll give it a, I heard from Eric and Jordan, all three are on our
speakers. Let's go ahead and give it, you know, just another minute or two and then
we'll go ahead another minute or two for people to kind of trickle
in, but I'll just go over a couple of the release details right now.
And then I'll obviously share it at the end of this conversation.
So today in less than one hour at 12 o'clock p.m. Eastern, that's 9 a.m. Pacific time,
we have Busiest, which is five unique digital artworks with complementary large format pen
plots. These are 60 by 24 inch pen plots that take up to 16 hours. We'll dig
into that a little bit later on. So that is today. That's a first come first serve fixed price of 2
ETH. Tomorrow we kick off an auction starting at 12 p.m. Eastern. It's going to be a 24 hour auction
with one hour extension up to one hour extensions. That's going to be a 24 hour auction with one hour extension up to one hour extensions.
That's going to be 50 unique digital artworks with complimentary medium format pen plots.
Those are going to be 22 by 30 inches all on archival ink and on acid free
cotton paper.
And then, so that'll be a 24 hour auction, as I mentioned with one hour
extensions possibly.
And on the 14th, April 14th, starting at
noon, we'll have a fixed-price open edition print, which we'll go ahead and kick off next week.
So today is specific for busiest. And like I said, that's going to be going live in less than
one hour. So let's go ahead and kick things off.
I'll do a little bit of intros and then we'll talk to James and talk about his project, Busy.
All right.
Welcome everyone to Drop Talk.
It has been a few months.
Excited to be here today and discussing this exciting new project on Art Blocks Curated.
We have two special guests that are going to be joining the artist James,
so I'll introduce them first.
First, we have Eric Snowfro,
who is the founder of Artblocks.
What's going on, Eric?
Good morning, good afternoon, everybody.
Hope you all do well.
And then next off, we have Jordan,
who's our Artblocks CPO.
What's up, Jordan?
GMGM, excited for today and this whole week. Let's get it started.
Let's do it. And then finally, last but not least, we have James Merrill, who released an Artblocks
curated project back in November 2022 called Ori. This week, as I mentioned, we're releasing
Busiest Busy, followed by an Open Edition Print next week. James, how are you doing today?
You there, James?
Oh, it looks like you got kicked off as speaker.
No sweat.
I'm going to add him right back on as a speaker.
We'll get the ball rolling.
Appreciate everyone being here.
All right, I'm going to try to add James as co-host, see if that does the trick.
Is there James?
So, this is classic Twitter spaces. There's always something going on, but we'll go ahead
and get this right in just a moment. Go ahead and ping James, see if you can log back out and log back in.
All right.
Well, while we wait, why don't we go ahead and, oh, there we go.
What's up, James?
What's up, everybody? And, yeah, i had to switch browsers immediately as soon as i was
supposed to talk so ah no worries at all you know we're we're excited um yeah i did intros but you
know just to kind of refresh everyone uh james is a returning curated artist he released ori back
in november 2022 james know, maybe you can kind
of kick things off and tell us a little bit about yourself or anyone who doesn't know you as an
artist and we can go ahead and get started from there. Yeah, for sure. Hey, everyone. My name is
James. I live in Vermont. I really focus on algorithmic artwork. And I am really intrigued
by the idea of creating art that starts as code, but ends up on paper.
So as you dig into busy a little bit, you'll hear me talk a lot about pen plotting and that sort of thing, which has really been my passion in the last couple of years.
Love it. Well, you know, I want to kind of like kick things off.
We had discussed, you know, we had linked up last year.
You were talking about doing something
in Marfa, you had this idea of doing Busy in Marfa edition. And, you know, I kind of want to
start there and then kind of segue into, you know, Busy in Busiest. Maybe you can kind of take us
back to the idea of Busy in Marfa, how they came about, kind of like the elements, the fun surprises
that you have mixed into the plots. And then also, you know, for anyone who wasn't in Marfa,
kind of talk about the distribution of how you gave out some of those plots.
Yeah, for sure. So I think kind of to kick it off, I'd say that my art practice has evolved a lot in
the last couple of years since I worked with Artblocks and dropped Ori in 2022.
That project was definitely very abstract. And for busy, I really wanted to start to hone it in and make it less abstract, have a little more, more meaning in the work and that sort of thing. So
I basically built this system where I could do illustrations that were just done by hand,
and then incorporate them into a generative algorithm and create this
window in which I could, you know, make art, I could implement it, I could keep kind of iterating
on it. And the more illustrations that I did, the more diverse and interesting the artwork became.
And that's kind of like the synthesis of busy. And then I realized like, hey, what if those illustrations were related to a place?
And what could you do then?
And then you could kind of make generative art
that were as say influenced by a specific location.
And naturally it made sense to consider doing that in Marfa
because Marfa weekend is an amazing opportunity
every year to go kind of just interact with other artists and collectors
and curators and that sort of thing. So it's a special, Marfa is definitely a place that is a
special place in my heart. And I wanted to figure out like, what if I made a busy in Marfa? So I
had this kind of framework in place. And I decided what I would do is I'd kind of like think about all the interesting little spots and quirky places in Marfa and then illustrate them.
And then the algorithm became kind of like busy in Marfa.
And that was working pretty well.
And then I was kind of thinking about it and I was like, Marfa is not really a busy place at all.
It's kind of the opposite.
It's like this desolate town in the high desert.
So maybe I should have thought about that before I signed up to do it. busy place at all. It's kind of the opposite. It's like this desolate town in the high desert. So
maybe I should have thought about that before I signed up to do it, but I was so committed that
I was like, I'm going to just like tool down this algorithm in ways to like create space,
create desolation, that sort of thing. So it all ended up working out fine. And then, you know,
came down to Marfa, did some live plotting there. So I really feel like you need to see this work in person.
And therefore, you know, set up an Axie draw,
brought all my tools and made some live artworks.
And then basically on the last day I made,
like I subdivided the algorithm into four
and then cut it into four pieces.
So it was like four little mini busy in Marfa's.
And then through randomness gave
them away. So the pen plotter, you know, it went around on this grid, it picked out names. Some
people, you know, were let down. Others were very enthusiastic and happy, but all in all,
it was a cool spectacle. It's a good way to like demonstrate how randomness works on the fly with
pen plotters. I honestly loved it. I loved how, you know, you distributed those. You did it
live in person. I'm sure you were very nervous. I was nervous just because all eyes were on you
as far as like what the penplotter was going to do as far as like who it's going to circle. But
I thought the distribution was a lot of fun. It was great seeing, you know, kind of like some early
ideas about your project come to life back in Marfa
last year. But I want to transition over to, you know, your project this week, which is,
you know, Busiest, which is releasing today, Busy, which starts an auction tomorrow. You know,
you describe Busy as navigating the tension between infinity and impermanence. You know,
how did you decide which moments are worth freezing into physical form?
It's a great question
because that's the amazing thing
about generative art
that we all know and love
is the mechanic of blind minting
or we really don't know
what we're going to get
until it's created on the spot.
I feel like that's really magical.
And that's my preferred way
typically of making generative art
is just delegating what's
going to happen to the universe. But, you know, it's tricky when you want to take things and you
want to make them permanent because it's a huge commitment to make one of these plots. I can't
go into the detail of just how they're made, but the long and the short of it is they take a lot
of time, they require a lot of supervision, require a lot of supervision and they're like real pieces
of art you can hang on your wall so you know in order to find out of this universe of possibility
the one piece that you want to make permanent and spend all that time and money on uh that's
difficult so for me like i typically like to delegate it but for busiest you know it was a
matter of just kind of finding the ones that appealed to me, not thinking too hard about it. Cause I, you know, you could look
at 10,000 of these things very easily. And I didn't want to do that. I wanted to figure out
like within an afternoon or two, like what I would ultimately end up deciding to do for busiest.
I love it. And, you know, the idea of that apparent chaos, you know, resolving at the
structure is central to busy and busiest, you know, the idea of that apparent chaos, you know, resolving at the structure is central to busy and busiest.
You know, what kind of systems or visual references, you know, most influence how you portray that transformation?
Yeah, I mean, for me, it started with a feeling that I got after moving to Vermont and going through COVID and then going back to like New York City for NFT NYC and stuff.
And it was kind of like an anxious feeling. It was like, I don't know what's happening here.
And I feel like I'm a fish out of water and it's very stressful. And this is compounded by the
fact that I think it was last year at NFT NYC, there was like literally an earthquake in New
York City. So like, it was a freak out moment for sure but you know eventually I realized like hey this is
cool like everything is kind of going with the flow here like everything's on schedule there
is a system in place and that's where it kind of clicked with me that I wanted to make artwork
based on that kind of transition within my own feelings of a place so I wanted artwork that
felt kind of chaotic when you first viewed it.
It felt like there was a lot going on.
And then when you looked deeply and you sat with it for some time and you
processed it, it did have a system.
And that's the way that, you know, I wanted to portray that through code.
So using a lot of systems in place, there's obviously many technical ones,
but overall the idea is there's order within this. You just have to sit with it and find it. Definitely. And so Busiest, which is
releasing today, five unique digital artworks, 60 by 24 plots, those take up to 16 hours to create.
You know, how does that slow tactile process influence your relationship with the work compared to viewing it on screen?
And, you know, is it nerve wracking how to, you know, waiting that long to plot something?
Or is that something, you know, that gets you really excited?
Yeah, I mean, I think in terms of like overall what I've seen with plotter artists, 16 hours is high, but it's not the highest.
It's not the highest.
Some artists might, you know, plot for a couple days straight.
Some artists might, you know, plot for a couple of days straight.
This for me is like, it's a balance of, I wanted to make sure that I could replicate
these because the other thing that we haven't mentioned yet is I basically had this like
one of a kind prototype pen plotter built by Bantam tools, the creator of the Axie draw
and the next draw.
I had it on loan for like a week
and they have only one of these things they kind of built it custom for artists like me who wanted
to push the boundaries of plotter art and work at really high scale so it was not just like is
it going to work or am i going to ruin this like 50 piece of paper it was that like if i don't get
this done then the pen platter is like gonna go
back and i'm gonna be like in a lurch so there was a lot of pressure to make it happen and uh i
basically methodically built a system around using this machine and that's why i'm gonna approach
working with busy too where you know my day is kind of dictated by that 16 hour window of having
to switch the pens every couple hours and having to make sure
that they're in complete and absolute alignment so that it's kind of scientific in a sense.
Like there's no questions, there's no guesswork. I know exactly what I'm going to do and how I'm
going to do it. And that came from like a lot of trial and error of having plots that just were
almost there, but not quite. I had to discard. And a lot of the prototype busy plots
that I've been taking photos of,
like if you flip them over,
there's like ruined plots on the back and stuff too.
That's because like stuff happens.
And every time there's like an issue,
I kind of just know about it,
kind of correct for it and keep moving forward.
That's awesome.
And actually, so considering how big these are,
you know, 60 by 24 inches, is this like custom paper? Like, how do you, like, how did you decide
on that size also? Like, is that, does that have any kind of like reference to something else? Or
was this the size that you always thought of, you know, from the get go? Yeah. I mean, I started
with a plotter that could do 11 inches by 17 inches and
i made a little system that looked a little bit like busy back in 2019 prior to nfts and all that
you know that's when i really got started with jennifer davart i came out with the system and i
have a friend his name is finny and mcmackis amazing conceptual artist worked at ilm and
i think started his own business now, but he was like,
these look great, but it'd be really cool if they were bigger. And that like planted the seed in my head that kind of just grew for years where I was like, this is cool, but I wish it was bigger.
And there's really like not a lot of options out there if you wanted to go bigger. So at the time
I had the biggest plotter that Evil Mad Scientist made. And you could build custom ones, but I'm not super handy.
So when Busy came around, I basically was just like,
I'm going to just see if they'll build a huge plotter.
Like, what's the worst they could say is just no.
And then they were like, kind of just like, okay,
we have this thing, it's called an art frame.
You know, it's a new design for pen plotters.
And basically, you know, when you build a pen plotter, you order all this extruded aluminum.
And it's just like when you go to Home Depot and you buy two by fours.
I don't know how many people can relate to that.
But a lot of times they're bent.
And that's the truth with these extruded pieces of aluminum, too, like an eight foot segment of aluminum they're
sometimes curved but every now and again you get one that's like dead on straight they set them um
on the side they didn't touch them and then when i came to them with this proposal they were like
i think we can actually do this because we have these super straight rails and we can just like
modify the machine to operate at this huge kind of cinematic scale
so that was like how it ultimately worked out but it was definitely lucky that we were able
to even accomplish this because there's not a lot of artists out there that can even work at
this scale because it's so tricky yeah i i love it you know i've seen i haven't been able to see
one of these in person but you know we saw some photos from your show in New York
last Monday. And kind of speaking of that, I read somewhere that I think it was on your
Twitter page that basically you started the plot, this, you know, 60 by 24 plot,
you started in Vermont, or you started at Bantam Tools, and you only did like a portion of it. And then you had like a custom tool.
I'd love to hear more about this custom tool that you created so that when you
got to New York city and you set up for your show,
basically you're, it was very precise.
Exactly. Like the plot basically started exactly where you left off.
And I think that is like a big fee. And so I'm curious, you know, what,
how did you create that? And so I'm curious, you know, what, how did you
create that? And is this something that, you know, maybe you're willing to release other people or
tell us a little bit about that? Yeah, this was kind of like, it was a magic trick, in my opinion,
I was like, kind of surprised it actually worked. But, you know, these plots take 16 hours to make.
So I was going to do an opening at BitForms in manhattan and i was like i'm not
gonna be able to get there a couple days before and set this thing up and let it plot like they
have another exhibition running so it's like how could we feasibly get this pen plot water down to
manhattan with a piece of art that's almost complete but not quite there very close to complete
and my scheme was basically like,
it was set up in my dining room in Vermont
and it was a rainy, snowy day too.
And I basically hauled the pen plotter out,
put it in the back of a car
and then drove it all the way down to New York
and set it up.
And then did a couple little things here and there.
There's like a homing
routine that the machine has, put the pen in the machine, pressed go, and it literally resumed
like perfectly. I was like, I don't know how many people will appreciate this, but this is like the
most insane feat of plotting that I'm aware of that I've ever tried. And it just worked perfectly.
So that was it. And one of the key things that I've ever tried. Um, and it just worked perfectly. So that was it.
And one of the key things that I've done with this is I developed my own system
for working with fountain pens.
So I really like them because I can use archival ink and I can use a spectrum
of different inks and they come in different nib sizes.
So I can use really wide lines or really thin lines and they can draw for hours
upon hours and they never really have any issues
so with a lot of pens the friction of say like a felt nib on textured paper will eventually change
its shape and eventually destroy it and because fountain pens are metal they're really like one
of the one of the best things you can use for pen plotting but to get a diagonally oriented pen to kind of land in the same place every time
required some some creativity uh so basically built something um 3d printed it and have kind
of come up with a system to do it and i am looking at ways to kind of open source that or just put it
up and like up into the web so other people can use. It's just a little finicky still, because I'm not a mechanical engineer.
I'm just a dude trying to figure stuff out.
But there's definitely opportunities there.
I want to help out the plotter community for sure.
I love it.
All right, now talking a little bit more about the detail in all these plots.
If someone spends time with Busy or Busiest,
what do you hope they notice or feel after sitting with it for a while? Yeah, I mean, I think if it was up to me,
you know, these artworks would kind of be in a high traffic area where someone spends time every
day. So maybe if you make your coffee every day, the artwork is next to it. And you can kind of
look at it every day and pick out something different that you can appreciate that was important to me that every time you look at it
if you spend time with it like you'll continuously find little elements maybe you didn't notice
before interactions between the elements um but there's a bunch like that's kind of up for the
viewer to find i know for me i have my favorites like i definitely like when you know like there's
like little cityscapes that
kind of appear at times and if there's line work that kind of wanders in between the buildings or
encapsulates it that's really nice and then yeah i mean there's a lot so i don't want to ruin it
because if you look closely you will notice there's things that aren't in the traits that
are unique to specific artworks. So many
artworks have like one of a thing within the whole composition. So there may be a thousand different
elements and there's just one of a thing that you might have that your friend might not have. And
that's part of the fun. I love it. And one of the cool things we have on the Artbox website,
just for Busiest right now, is that we have a magnifying tool so that you actually see the different mints for Busiest, which
is releasing today.
You can actually magnify through all the little details.
And I think that's part of the true beauty of this project are just the details that
you really need to kind of spend time with.
And then kind of just circling through.
So you draw inspiration.
I read your, I read the journal article that we published on our website.
You draw inspiration from Wimmel Builder paintings, which are rich with little tiny narratives.
And just curious, are there any specific micro stories or visual surprises that you've kind of hidden within Busy?
surprises that you've kind of hidden within busy yeah i mean there's definitely like those little
elements that are going to appear very rarely in specific places that's the main thing um to me
it's it's about seeing the city from from a distance so as you look like you will notice
there's like little parks um there's little highways, there's train systems. And that to me is
like just an overall encapsulation of, say, a top-down view of a city. And that's what it's
all about. But as you look closer, like you may see little neighborhoods, that sort of thing.
They just like sporadically appear. Great. And kind of just wrapping things up, you know, how long,
I imagine this is not a project that just, I know your projects have a lot of detail and richness
to it. You know, how many, how long have you been working on this project? And, you know,
how many hours do you plan on spending plotting everything between busiest and busy?
Yeah. I mean, this is, this has been about a year
that I've been working on this.
So it definitely took a little detour to do Busy and Marfa
because once we got into that,
it was like a month or two of cruising around in Marfa
on Google Street View and just like replicating everything
and trying to get it right.
So yeah, it's been a journey.
It's been about a year.
And then I'm going to be
plotting for the next couple of months. Absolutely. I have a process in mind in which I'm going to
implement to try to make it as smooth as possible. And perhaps we'll acquire more machines like
Alicia who has four or five plotters running at all times in her studio um so there's that and the cool thing
actually is if you go to my website i figured out a way to just post every time i start a plot and
there's a little tracker there that'll show how many hours i've plotted so far and what the
distance is around the world so you can go check that out i think it just reached 100 hours and
that's that's really like only been running for i I don't know, a month, month and a half, maybe. So by the end of this,
I anticipate it's going to take around 500 to 600 hours. And that's under like the best conditions
of bots never having issues. But because we're working with physical media, like issues are
bound to occur. So I really don't know how long
it's going to take, but it will take quite a while. It's going to be, you know, into spring,
into summer, that sort of thing. But I'm really excited to do it. It's going to be a good change
of pace just to like focus on the production for a while. Yeah, I love that. Yeah. And so for anyone
that wants to visit James's website, it's lostpixels.io. I want to throw it now to Jordan and Eric,
who are actually speakers on this call as well. I just wanted to check in with them,
you know, see if they have any questions. Obviously, we're super excited for this release
or these releases since there's three different tiers, which we'll go about later on. But yeah,
Jordan, Eric, love to hear from you all. Thanks, Masood.
Thanks, James.
It's awesome to hear the way this is coming together.
I'm personally super excited about 30 minutes from now,
hopefully getting one of these busiest.
But I wanted to say a couple things.
First of all, James, from the very beginning from your typeface for busy,
you could just tell how much you put into every element of this, not just
the algorithm and the plotting, but
just the whole thing comes together
really beautifully. And for anyone
that may have been in Marfa to listen
to James's artist
talk about how he describes his
process and got into the intricacies
of the complexities and what makes
this so difficult, this is
a truly unbelievable work of plotter
and generative art.
And I couldn't be more excited.
But I think one thing I do want to say is my children
will sit there and stare at Busy and Marfa
for a really long time.
And they play a Where's Waldo kind of,
oh, look at this and look at that.
And I collect a lot of art and I have a lot of art on my walls.
And I just have to say that I don't think my children have ever spent as much time with a piece as they have with this one.
And I think that's indicative of just this idea, James, you mentioned, putting it in a place that you spend a lot of time in.
Every time we walk by, we find something different.
And that kind of passive slash active engagement with art, I think, is something really special.
The magnifying glass on the website makes it just so much different than anything that we've experienced on ArtVlogs.
And then the other thing I just want to say is you should go look at the live view because they also build really beautifully as well.
Like you're seeing the static ones on Busiest, but when you go to the busy area and you can kind of see how the pieces
build it, they have a really beautiful kind of way of kind of coming
together. But yeah, I know we're coming up on time.
Thank you, James. Beautiful work.
Beautiful like vibe around this piece. Thank you to the Rblocks team.
They've I think done an exceptional job of demonstrating this and,
and putting this together.
And then I just want to say thanks to all the collectors that are still
around, because I know it's been a,
it's been a rough few weeks and then months and then years,
but really excited to be able to put this out into the world and
celebrating James's work. This is really, really, really incredible stuff.
I really appreciate that, Eric. I mean, that's,
that's what it's all about right there is
making art that resonates with a person and their family and pulls them in like i really appreciate
really appreciate this opportunity too and it was a ton of fun to do this in marfa um and glad it
that work found a place in someone's home who really appreciates it
love it and jordan do you have any questions or any comments you want for Test James?
Yeah. Hey, James. I know we're trying to wrap this up, so I'll keep it brief. It's just been
really fun being on this side of the house this time around. I've been through many releases as
a collector and as a community member, but this was the first curated release as part of the Artblocks team,
and it's just been really fun to work with the team.
Kudos to Sarah and Madeline and Margaret
and everybody involved in making this reality.
Grant, of course, it's been really rewarding
for me personally kind of seeing it on this side,
getting to work with you and seeing the process
and seeing it go from start to finish here.
One thing I thought was particularly interesting is you kind of made a last
minute call on the busiest work to flip it, to, to rotate at 90 degrees,
which is really interesting, which is something that we don't,
we don't see a lot. We don't see like this horizontal, you know,
landscape aspect ratio.
And I think it really knocks it out of the park.
And I really love that decision. Can you talk about that real quick and your decision to do that?
Yeah, no, that's an interesting facet of this. Thanks for bringing it up.
Busiest originally was going to be kind of a long scroll. William Mappan has done some amazing works
that are portrait. they're very large uh
they're meant for for you know looking over taking a lot of time with and that was originally where
i wanted to go as well and then just a chance encounter actually um with another artist um an
artist named paul rickards who's one of my heroes in the plotter art space who inspired me to get into this.
I ran into him and we were able to, he was doing a week-long residency at Bantam Tools,
and I was down there to use this prototype machine.
And he was just kind of like, you know, you're going to have to be really tall to absorb this work.
And I was like, that's a very good point.
Like if this was portrait style and it was like 24 by 60, um, it'd be hard to consume, but, you know, flipping it horizontally and looking at it kind of in a cinematic sense
made a lot of sense. And I was like, that's, that's a very valid point that I, for whatever
reason, didn't consider because a lot of times when you're making this kind of digital art that gets transitioned into physical art, it's hard to picture it until you do it.
And I hadn't done it at that point. And it's just simply a question of like, what is this going to look like in a space? How am I going to consume it?
And he had that intuition immediately without even seeing it. It took me a little longer until he said it to realize like, yeah, this is the way.
And fortunately, I had built this algorithm in a way where it's kind of infinitely scalable.
So if I wanted to make a busy that was the size of a wall, like I could just change a
couple of parameters, like, and it would just, the system would grow.
It would take a lot longer to make, but but you know, it was built in a way where
I could have this met this abstract unit of measurement, which is like the level of density
per square inch so that I could just change the number of inches and it would all kind of work.
And because I had that, I was very easily able to make like an adjustment at the last second to be
like, actually, I want this to be really wide. And then I really love the results. So it was a happy accident for sure. But it was informed
by just how the art sits with you when you look at it. I love it. Thanks for sharing that, James.
I'm just going to go real quick through the different tiers that we have for this release.
And then I also want to just kick it back to James for any
kind of final details, messages that he wants to get out to the open. So today, in less than 30
minutes, about 26 minutes from now, we are releasing Busiest. That's starting at, as I said,
12 p.m. Eastern, 9 p.m. Pacific. It's a fixed price of two ETH. There are a total of five unique digital artworks
with complimentary large format pen plots that are 60 inches by 24 inches. Tomorrow,
that's April 8th through the 9th, that's going to be a 24-hour auction starting at 12 p.m. Eastern,
9 p.m. Pacific, or 9 a.m. Pacific, I apologize. That's going to be 50 unique digital artworks with
complimentary medium format pen plots. Those are going to be 22 by 30 inches large. And starting
next week, next Monday, that's April the 14th at 12 p.m. Eastern. That's 9 a.m. Pacific. We're
going to have open edition prints. That's going to be two artist selected works,
and those purchases do not include a digital artwork. So today's release of busiest and the
auction starting tomorrow for busy, those are the pieces that are going to include the digital and
the physical. And the open edition print, which starts next week, will just be that print itself.
So James, I just want to kick it back to you.
We are very much looking forward to your release this week.
Any final closing thoughts before we start out the release at noon Eastern?
Yeah, I mean, I would just kind of start off by saying that I'm really thankful for everybody here, for the team at Art Blocks, for the collectors out there, the artists out there, the curators,
who have just kind of, you know, let me workshop things over the last year, helped me build, been an inspiration.
This project is my favorite thing I've ever done by far, I think I can say at this point.
It was literally a lot of fun to make. There was never a lull in that.
This is like the purest expression
of my joy of being an artist is on this paper.
And I hope everyone else gets the opportunity
to see it in person at some point
and potentially collect it.
And I'm around to answer any questions you'll have.
Anything like that, let me know.
There's a lot of little facets of this
that we haven't exactly talked about yet
that I am hoping the community will find
as they comb through things,
including like, how did I get, you know,
hundreds of illustrations into a generative algorithm
that's on chain?
Thank you, Artblocks for one,
for the compression side of things for that.
But there's a lot.
So if you have any questions or anything like that,
let me know.
And if not, thank you to everybody.
I guess we're still here. So I just want to say thank you also to whoever told you to make it portrait.
I mean, to make it landscape as someone that's not super tall.
I think I'll enjoy it a lot more.
So that was brilliant.
Thanks.
Yeah. Thanks, James.
I appreciate it.
And thank you, Jordan and Eric for jumping in this call as well.
Busiest goes live in less than 30 minutes and Busiest or Busy goes on sale tomorrow.
Any questions at all,
feel free to jump inside of our Artblocks Discord server
or feel free to leave comments in any of our Twitter posts.
So happy minting everyone, stay safe
and we'll talk to you soon.
Take care.
Thanks everyone.
Host
Art Blocks
from
Art Blocks
Jordan Lyall
from
VenturePunk
