CAN review – xnmtrc’s work has a very distinctive design aesthetic and ethos. The initial concept and the design process for each project appears to be meticulously examined and scutinised in order to find the best visual solution for that particular idea. Studying part of xnmtrc’s website material revealed the following question and concept about his work ‘Stairway’.
What if a portal is a gate for another level. Is a portal different than a stairway now? What happens when you climb the stairway, through the portal for downstairs? Do you go upstairs or downstairs?https://www.xnmtrc.com/post/stairway-is-it-portal
xnmtrc’s 3D render has a subtle diffused lighting setup and the precision of the composition is beautifully realised. You get the feeling that everything has been considered in the most exact detail, from the lighting, to the materials, and the subtle motion of the stairway as it forms.
Similarly, ‘Thousand’, arises from a conceptual idea that considers the visual representation of a thousand cube … cube!
to demonstrate the thousand you do not need the thousand a great number of things is the thousand
1. Creating points on 3d 10x10x10 gridhttps://www.xnmtrc.com/post/thousand
2. Eliminating some points randomly
3. Placing unit cubes on the remaining points
4. Animating the scene in a distractive way to hide missing cubes
The animation appears to revolve around a central point, with the mirrored cubes scattered, before arranging themselves into a giant block comprised of a thousand cubes. There is a more chaotic element at work in the rotation of the various objects before they setttle into the precise grid structure.
The final piece is an ongoing project on Opensea.io entitled cryptohouses https://opensea.io/collection/cryptohouses The first series of these elegantly designed houses have already sold out and xnmtrc is in the process of creating series 2.
In total there are almost 30 parameters for each CryptoHouse. Nine of the parameters are random in a range. Others are calculated by using the random parameters as variables. The parameters include information for:
CAN have been impressed by the careful planning and preparation that goes into all of xnmtrc’s work. We look forward to series 2 of the cryptohouses project and much more in the future.
What is your background as an artist in general?
I don’t consider myself as an artist much. I have graduated with a degree of B. Arch and started a Master’s degree to work on parametricism. I launched my firm in 2019 and dropped out of academics. Besides my professional life, I create visuals to challenge myself. Creating these visuals has started to be an escape point for me. It is the only place I can move freely and without concerns. I am still learning as “an artist” every day and trying to keep doing what I love to do. I think being a consistent creator is the way to awaken your inner artist.
What is your overall process in generating art?
It generally starts with a question in my mind. Sometimes I challenge myself to create something to think about a phenomenon deeply. I always make lots of drafts, try to see and create the concept from different perspectives. Then I choose what I think is best and improve it to exhibit. I never let myself to imagine the result at the beginning. It is like a bottom-up approach.
How would you describe your art in your own words?
My works mostly have minimal items with randomness and obscurity. They are always the results of questions or challenges. Works I create settled on the axonometric view (inspiration of the name xnmtrc). I think it provides an unrealistic perspective to the observer and helps them to focus on the idea behind it.
Favourite artists / influences?
From my profession, I am interested in brutalist structures. Their naked but strong identity always inspires me. In cryptoart, I will be always a fan of pak and how pak uses the NFTs. Other than that, I love the works of Frederik Vanhoutte, MadMaraca, idflood, ARC, and LOVΞVISUALS.
How did you discover the new blockchain world of Crypto Art and NFTs in general?
I have been following pak for a long time. I knew that the digital works were sold somewhere but I didn’t know that they were nfts. Then I came across the CryptoKitties in November, discovered the nft world and other significant platforms like SuperRare, Rarible, OpenSea, and KnownOrigin.
Has the digital nature of cryptoart NFTs changed how you approach your art practice?
Not really. Creating something was already a very digital process for me. I have never been a paper/pencil person. I adapted to nfts quickly. However, Nfts challenge me to find ways to use the medium more efficiently, as a piece of the work and I am still looking for it. Also, NFTs make it easier to get inspiration and look at what others have done.
What if anything, has surprised you about this new area of art practice?
Two main things about NFTs surprise me every day. The first, how fast the community and NFT world has grown. I have never had a day that I didn’t discover someone or something new. The second, how helpful the people are. I have never heard a negative answer from the community when I asked for help.
How would you like the field of cryptoart and nfts to evolve over time?
I always believe in the term “evolution”. I am sure that there will be obstacles in the future for the NFTs. Whatever happens, nfts and its community will find a way to be better. People have already started to think about important problems such as gas fees, overcrowded platform applications, and environmental issues.
How can access and information to this new field of art practice be encouraged?
I think, the trend for the NFTs will be enough to reach more people. However, the overall experience of creating/collecting NFTs can scare newcomers. I and most of the artists we see in cryptoart have educated themselves along the way. However, platforms could be more simple and user-friendly for both the creators and the collectors.