The multi disciplinary artist 0010×0010 in conversation about what it means to be a digital artist and their diverse and eccentric practices, spanning from music to AI and 3D design, his link to fashion and to the metaverse. The artist subverts notions of art and triggers a sense of darkness and alienation, imagining anOther world that might not yet exist.
I have seen that you are currently working on an exhibition in London named “Intelligent Artifacts 02.02 Beta”. What’s the concept beyond that?
It explores the relationship between art, fashion, artificial intelligence, mental health, and the impact of technology constantly overloading the human mind and brain at high speed, making it almost impossible to digest and process.
Your avant-garde and provoking images mirror a sense of dark realities, a metaverse populated by traumatised aliens. Where do you take inspiration from your images?
Most of my works are the result of mental self therapy wrapped in a surreal and stylish avant grade package. I love raw underground culture, so in most cases I try to not polish or hold back too much. Unfortunately, social media is censored in a way that I can’t share my dearest and most raw works.
People may argue that AI and 3D art is not art in the sense that has been considered as such in the past. Of course, the concept of ‘art’ has changed a lot in recent times, although in my opinion, it is just an evolution of what has been conceived as an artistic product of our times. What is your opinion on art in the digital era? And how does your work relate to these problematics?
In the press release of my latest show I purposely mentioned that topic. Asking the audience what they think ..is it art or not ? Looking at the massive response in London it looks like the Audience considers it art :) I myself agree with you that it’s just the evolution of art. The same way it happened with film (animation CGI) and music (electronic/sample based). The complaints come usually from people that can’t keep up with the reality and speed of technology.
You started as a music artist and then you decided to follow another path, the one of visual art, film, and photography. What made you change the media to express yourself? And why?
I started with traditional art pretty much at the same time as music, but music got picked up quicker, but as soon as I had my first record deal I wanted to make the cover artwork myself which was a mixed media piece and then later also wanted to control the video element since I wasn’t satisfied with the first results made by others. I taught myself to do all these things, so I knew the outcome would always be the way I envisioned. Obviously this didn’t always turn out great , but at least I could blame myself and work harder to get a better result next time. I think it’s also the ultimate form of expression… to be able to create matching sound and visuals.
I have noticed that, especially on your Instagram, there is a recurrent image of a big eye, sometimes represented as a third eye, sometimes as a sort of non- human face with no nose and mouth. Is there a specific reason why you used such an image?
I’m fascinated by eyes and I believe in the third eye concept. There’s something really deep about looking someone in the eyes. Most people get uncomfortable by that and when you do it changes the energy a lot. Like Hypnosis, and when I make these eye pieces I make the audience look into those eyes, so I’m kind of making them feel uncomfortable looking into them as well as hypnotizing them into my dimension. Also, When I do film or photography I use a certain way and style that I consider voyeuristic and I often make the actor/model feel like they’re alone, but being watched.
As well, you have a fashion eye: in the sense that all the “costumes” represented are highly detailed and really reflect the zeitgeist of this era in fashion. Moreover, fashion is slowly facing the world of virtuality, paradoxically. What’s your thought around fashion and how do you relate it with your art?
I’ve always loved fashion and admired the more artistic designers like Alexander Mc Queen, Martin Margiela, Olivier Theyskens, Rei Kawakubo and Rick Owens. They have influenced me as much as other artists. It’s deeply in my system and I would never make anything without some kind of fashion statement in it. For the future, I think people are already making clear statements on social media as to what they (like to) wear and soon that will be taken to a next level when technology is ready for highly detailed avatars crossing over even more with art. I feel like the images of my new exhibition can be looked at as some kind of blue print for that.
Your name “0010×0010” translates to “2-2”, which is your birthday. It seems like your existence in physical spaces is sliding into the digital reality. Or maybe you have purposely split yourself in half (like we have all done after downloading Facebook back in the 2000) highlighting a sense of dichotomy in the inside. Do you resonate with that?
I’ve chosen a binary code, because big part of me strongly believes in the concept of us living in a (digital) simulation. Like in the Matrix movie. Everything digital is pretty much zeros and ones, so looking at myself as binary code I could always reprogram and update myself into anything I want. The name is not pronounceable and wouldn’t put an image of race, gender, genre or direction into ones mind. In case I got lost, I could always identify myself to the root… my birthday.
You have also highlighted the fact that you were born in the same region as Vincent Van Gogh. Do you feel connected to him and his art, clearly an expression of his tormented soul?
I feel very connected to him because of our region as well as our mental states and the (for me) comforting way he expressed those elements in his works. The Van Gogh museum was also the first museum I visited as a kid with school because it was so close. Later when I learned about his life(style) it resonated even more with me… always drawn to the underworld.
You have also worked with NFTs, a way maybe to have a more democratised art instead of expensive exhibitions. What’s your opinion about that?
I’ve been creating and selling video and digital art before the NFT hype, so when that occurred it was only logical for me to participate. After my first drop, the collectors of my traditional pieces were not too happy with it, which I understood, and so I stopped doing that. As much as I like and understand the idea and theory behind it, so far I don’t think it’s been developed enough to really count as a stable format especially because it relies heavily on crypto currencies which are still very unstable. A lot of people lost a lot of money and even got into financial trouble, so that can never be a good thing.
You have explored so many different digital media, is there a practice, maybe physical that you would like to explore? Going back to the origins of the worlds, we could say!
I want to focus on bringing out beautiful flaws and imperfections, so at the moment I’m exploring a certain hybrid way of working in all formats. I feel like technology made people want to be perfect and make perfect things. I always love the pure and raw things of life without being polished by digital tools. I also want to focus on doing more off the grid offline concepts and events. Like going back in time with all the knowledge and tools we have but then without the social media urge and pressure to promote, share and over commercialize everything to death.
0010×0010 / Avant-Garde Alienation
Artist: Raymond Tijssen / @0010×0010
Words: Alice Lipizzi / @strafiko
Editor: Anca Macavei / @ancamacavei