May 2024
Constant
“there are two strains of *nft art* emerging - one is an extension of postinternet as the production of unique images using the legder as means of distribution. The other strain is creating experiments with the material (code) and structure of the chain itself. Image vs Process” - @brachlandberlin
Constant grew from a few ideas; one was a return to the topic of symmetry, explored in Token Hash among others, and another the idea for a new mechanic of using wallet address as seeds for a generative artwork.
My first explorations stemmed from Natural Static, mirroring random pixels to reveal the inherent lack of randomness in their distribution.
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These tests were interesting, but one thing I wanted to bring to Constant from my previous work with Natural Static was an understanding of the context. Most viewers will encounter the work as a thumbnail on a NFT marketplace, where density gets lost.
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I reduced the grid of pixels to a line traced through random points, and then mirrored this line, adding small random variations. The two figures reminded me of my choreographic work, how having only two dancers on stage drew thoughts to the relationship between them.
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I also explored pixel grid forms, with some Harm van den Dorpel-esque imperfect symmetry studies, but this level of density felt like territory I had explored before, with Proof of Work and Natural Static.
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I liked the gesture of moving from the density of Natural Static to the simplicity of two forms.
I began working with rectangles and rotation, and saw a clear relational dynamic between them; who takes more space, who is leaning on who, where is the connection?
Throughout this process I was set on the idea that the visual content of the work would be derived from the wallet address of two participants; previous and current minter, or seller and buyer.
This image below shows how Constant would evolve during the mint; each new minted piece contains an element of the one before it.
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Making a work that changes when it is transferred breaks the fundamental value proposition of NFTs; that they are stable artworks that can be bought and sold. Allowing the work to evolve over time changes this value proposition, and points to the relationships between artists and collectors as the source of value.
Throughout my practice, the visual content of a work has not been my primary interest. What excites me more is the creation of a protocol that enables connection, or shapes an experience.
Shadowing is a good example of this. The system captures the movements of people under a streetlamp, and plays them back as shadows. The visual of language of the work is there to signal that your participation was recorded, and to show you the movements and gestures others performed under the lampl. The greatest joy of the project was not in creating the visual language of it but was in watching people play under the lamp.
My favourite works from the NFT canon are not those that make pretty pictures with code; they are those that use the affordances of the blockchain to create propositions with pleasing tension; Stevie P’s Money Making Opportunity, or Rhea Myers Proof of Existence come to mind.
In a recent inteview in Outland, Myers stated that the point of her work is to raise the negative; claiming that a hash on the blockchain is proof of existence immediately raises objections.
“The objections are the point. That’s the point of the artwork—this doesn’t work. Let’s think about why not.“ Outland, 2024
Constant works in a similar way - wallet addresses are not equivalent to their owners complex personalities, and blockchain transactions are not equivalent to real connection.
But in creating a work that shifts each time it changes changes hands echoes the fragility of our real relationships, and reminds us that behind each blockchain address is you and me.
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Constant opens May 29 at 1pm EST on constant.jonathanchomko.com
“there are two strains of *nft art* emerging - one is an extension of postinternet as the production of unique images using the legder as means of distribution. The other strain is creating experiments with the material (code) and structure of the chain itself. Image vs Process” - @brachlandberlin
Constant grew from a few ideas; one was a return to the topic of symmetry, explored in Token Hash among others, and another the idea for a new mechanic of using wallet address as seeds for a generative artwork.
My first explorations stemmed from Natural Static, mirroring random pixels to reveal the inherent lack of randomness in their distribution.
These tests were interesting, but one thing I wanted to bring to Constant from my previous work with Natural Static was an understanding of the context. Most viewers will encounter the work as a thumbnail on a NFT marketplace, where density gets lost.
I reduced the grid of pixels to a line traced through random points, and then mirrored this line, adding small random variations. The two figures reminded me of my choreographic work, how having only two dancers on stage drew thoughts to the relationship between them.
I also explored pixel grid forms, with some Harm van den Dorpel-esque imperfect symmetry studies, but this level of density felt like territory I had explored before, with Proof of Work and Natural Static.
I liked the gesture of moving from the density of Natural Static to the simplicity of two forms.
I began working with rectangles and rotation, and saw a clear relational dynamic between them; who takes more space, who is leaning on who, where is the connection?
Throughout this process I was set on the idea that the visual content of the work would be derived from the wallet address of two participants; previous and current minter, or seller and buyer.
This image below shows how Constant would evolve during the mint; each new minted piece contains an element of the one before it.
Making a work that changes when it is transferred breaks the fundamental value proposition of NFTs; that they are stable artworks that can be bought and sold. Allowing the work to evolve over time changes this value proposition, and points to the relationships between artists and collectors as the source of value.
Throughout my practice, the visual content of a work has not been my primary interest. What excites me more is the creation of a protocol that enables connection, or shapes an experience.
Shadowing is a good example of this. The system captures the movements of people under a streetlamp, and plays them back as shadows. The visual of language of the work is there to signal that your participation was recorded, and to show you the movements and gestures others performed under the lampl. The greatest joy of the project was not in creating the visual language of it but was in watching people play under the lamp.
My favourite works from the NFT canon are not those that make pretty pictures with code; they are those that use the affordances of the blockchain to create propositions with pleasing tension; Stevie P’s Money Making Opportunity, or Rhea Myers Proof of Existence come to mind.
In a recent inteview in Outland, Myers stated that the point of her work is to raise the negative; claiming that a hash on the blockchain is proof of existence immediately raises objections.
“The objections are the point. That’s the point of the artwork—this doesn’t work. Let’s think about why not.“ Outland, 2024
Constant works in a similar way - wallet addresses are not equivalent to their owners complex personalities, and blockchain transactions are not equivalent to real connection.
But in creating a work that shifts each time it changes changes hands echoes the fragility of our real relationships, and reminds us that behind each blockchain address is you and me.
Constant opens May 29 at 1pm EST on constant.jonathanchomko.com