From the Studio to the Script
You didn't start your career in a digital studio. Can you take us back to the world before you went "all-in" on crypto around 2019?
Before the blockchain became my world, I was a producer, graphic designer, and a "doer" in the physical world, deeply embedded in the Manchester electronic music scene. My life was about sound, visuals, and the daily grind of the industry. But between 2019 and 2021, I hit a major crossover point. I'm a father, and my family values moved me from that physical music world into the digital space. The "all-in" musician lifestyle, the constant traveling and time away, wasn't compatible with being the father I wanted to be. I stepped away from the music industry to focus on this new frontier, channeling that same producer energy into digital art.
You've described your five-year journey as an artist as a "radical evolution." How did you go from mastering pixels to mastering code?
I didn't start with code. I spent years mastering every medium available to me, from high-resolution video and complex GIFs to the 2021 "dark glitch" Tezos scene. The turning point was my 365-day Everydays marathon on Ethereum in 2022. That was a grueling education in visual storytelling and technical discipline. But the real shift happened when I moved to Bitcoin. The constraints of the protocol forced me to discard everything I knew about traditional file hosting. I had to find the tools already embedded within the protocol just to make my kind of art work. That necessity led me to recursion and eventually into a deep exploration of generative tools.
Some might look at your current work and label it as "generative," but you describe it as a hybrid. How do those two worlds meet in your work?
I'm not just a generative artist. My work is a deliberate hybrid; a mixture of traditional 2D glitch art, GIFs, music, and live-rendered code. While it involves parts of hand-drawing, it is a much larger orchestration altogether. I approach the screen exactly as I approach the studio: as a producer layering, sequencing, and optimizing code. Whether I'm working on Bitcoin or pushing into Ethereum with even stricter file restraints, I've moved away from the concept of static files. In my world, restrictions are ground for creativity.
Can you explain the "Inception" methodology you use? How does it differ from traditional digital art?
It starts at the very inception of the piece, building from the bottom up using the browser's own engine. Every single stroke and line of code is intentional. The artwork is truly dynamic; it does not "exist" as a pre-rendered image on-chain. It only generates and plays at the moment of viewing. It is a precision game where the code is the artwork from the very first line. This is where my history as a producer and my recursive code-work finally meet.
Your project The ORD Lot seems to be the culmination of this entire journey. What happens when it reaches its final state?
The ORD Lot is the legacy of this entire journey. It's where the 2022 Everydays and the recursive code finally merge into a synchronized 3D parade. By utilizing recursive features, Sat Endpoints, and reinscriptions, I am building living, breathing crowds on the blockchain. When the collection reaches its "Master State" and the Parent inscription is burned, it locks the history, the music, and the journey into one final, immutable state. I am no longer just making images; I am scripting the future of the digital artifact.