Javier Arrés, in addition to being the artist of greater international recognition within the new field of crypto art in Spain, is an excellent person, generous and humble, friendly and, with an excellent sense of humor always willing to talk and share his experience on any matter related to his career. Unlike many interviews with artists, this interview is aimed at creatives. In it we review his career as a professional, where Javier tells us how he began his career as a designer, what kind of work he was doing and how he managed to position himself within the world of international illustration agencies. Later we investigate his crypto-artistic work where he gives us his vision of the field of crypto art focusing on the type of work that he considers can work in this new artistic context.
It lasts approximately twenty minutes and is made in Spanish.
In the second part of this interview we investigate market aspects within crypto art. It will be available exclusively within the Online Course of crypto art aimed at artists and visual creatives that I am currently preparing and that I hope will be available soon. You can sign up for my list of interested parties and take advantage of the launch discount I will make as soon as it becomes available. It will be an online video course of affordable price for all those interested in entering fully into the field of crypto art in a rigorous way.
I am very happy to have been invited to the cryptoart Foundation platform by the Brazilian artist Rayana Cabrera. I met Rayana last year as a result of her work “Origin” her first work minted on the blockchain. Origin attracted my attention and I found it an enigmatic work: it shows an indigenous woman with sealed eyes. I felt very identified with this work and I was certain that it spoke about something that interests me a lot in art and in life: human dignity. Indigenous people, people who have been excluded from society in many countries without voice or vote, ravaged by a technified world that has swept them off the face of the earth. I think of indigenous Australians; I think of indigenous Brazilians in the Amazon. I bought it. Her first minted work, my first collected work. It’s a very special and comforting feeling when you support an artist in their career. From an investor’s point of view, an artist’s work can be seen as a commodity capable of being bought, exchanged, traded, sold and resold with which to make money by speculating on its price. It is legitimate and necessary: the art world needs investors and art collectors to support artists. For an artist, the fact that they buy your work can become a boost to your self-esteem, a form of recognition and appreciation that can also mean a lot in the beginning of your career. In Spain, and in the world, we need investors to support artists.
A year later, thanks to Rayana, I have been able to access Foundation, a marketplace of NFTs aimed at visual artists with access filter. In order to access the platform, artists must be invited to each other. Unlike other more open and unrestricted platforms such as Opensea, Foundation maintains a selection of very creative artists who present quality collections. There is also an investment community that supports these creative works and encourages its artists. I hope to take advantage of this opportunity with the launch of my next collection “We Robots” that I am preparing for this year 2022. We will see what happens during this year.
“The Currency” proposes a game to the buyer, demanding that he decide between the physical work and its replica minted in NFT. The artist proposes in “The Currency” a reflection, What happens when the work of Art becomes currency (in NFT) and the Currency (the NFT) becomes Art? Where are the boundaries and linkages of each area? To investigate this concept, the artist takes this premise to its ultimate consequences: The artist creates unique works on paper, which are replicated on the blockchain in NFT. Just as NFTs are guarded, each work is guarded in a safe. Each buyer of the NFT acquires the right to the work on paper, and “ultimately, (the buyer) must decide between the digital NFT or the physical work of art, which are works of his property. Whichever he chooses, the other will be burned.” In this way the artist “carnalizes” the process of “burning” an NFTs in the physical simile of “destroying” the work on paper. The work has been minted on Palm Blockchain and is shown on OpenSea.
Labyrinth series is my first code-generated digital work. In my work I try to undress the world and show its essence. Binary structures that build labyrinths based on chance: without entrances and without exits.