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I am a multimedia artist from North Yorkshire, with a passion for code and illustration. Often combining the two elements, my artwork seeks to embrace randomisation in a controlled and structured manner by embracing constraints and adding texture and depth to clean lines and structures.
I develop programs which are used to generate visual experiences, whether through the random layering of drawn elements or the creation of perpetually changing works. Sometimes the programs are responsible for the end product, other times programs are the end product.
Aside from O you may know me as the artist for GOAT Tribe and my work has been collected by people all over the world, and can be seen in person at the Cardano Hotel in Barcelona, where it was shown initially for Cardano Summit 2021.
O is a love-letter to the albums I grew up with, whether it’s Holger Czukay taken from an early memory of long drives with my parents or Smashing Pumpkins and Silverchair who featured heavily in my own voyage of discovery and remain favourites to this day.
The pallet of each piece in the collection is defined by these records, the sets of concentric rings have come to represent the grooves of a record and the way each piece generates anew each time it is viewed is a representation of live performance.
Each piece has its own set of characteristics down to the number of ring sets, their appearance and the composition of the piece, so although each experience with a single piece is different, it remains distinctive at its core and retains coherence within the larger collection.
I always hope that others will find meaning in my work and that me attributing any meaning could detract from that, so I often approach a project with the aim of blurring my intent. With O this changed very early on in the process and I feel the concept is intrinsic, although appreciation of it isn’t required to appreciate the art which in itself is abstract. Despite planning to showcase the musical influences which defined the palettes for pieces in O, I didn’t expect it to be such a focus for collectors.
I started out using Processing, inspired in part by the Tezos art community. From there, I began experimenting in p5JS and ultimately ended up working with vanilla JavaScript. Doing so is essential due to the 16kb size constraint for transactions on Cardano. If works are to be on-chain, then the entirety of the script has to fit within this constraint.
It started out as a way for me practice illustration and to keep my mind occupied and has developed into one of the bigger projects on Cardano. We’ve just sold out our second 10k collection after working hard to establish a brand and build out utility for our holders over the last year.
It still remains a great place for me to go to have fun with my ideas and to be creative in a different way to the work I make under Autre Coeur.
Aside from working to develop GOAT Tribe into a sustainable long-term project, I’ve been working on an on-chain collaboration with Forms which has been a lot of fun to code. I’ve developed a minting script to perform calculations which accurately pinpoint the point at which a piece is minted. These calculations are passed to variables which affect the output of the piece minted, so when someone mints a piece they’re minting something that only looks the way it doesn’t because it was minted at that particular time and it can never be recreated.
Otherwise I have a couple of other collaborations and illustration projects underway and I'm working on ideas for a small collection to follow up O and hopefully branch further into physical pieces.