In the evolving landscape of contemporary art, few artists embody the essence of change and continuity as powerfully as Ryan Koopmans and Alice Wicksell. Their artwork bridges the gap between the natural world and urban decay. They delve into the heart of abandoned places and transform them into digital masterpieces that question the boundaries between reality and digital artificiality. Together they explore the concept of legacy and preservation in the digital age by recording their work on the Bitcoin immutable ledger. Their latest work, “The Origin,” is a testament to their innovative approach to digital art. He combines photography, digital manipulation and Bitcoin curation technology to create a dynamic on-chain artwork that reflects the passage of time in the ruins of an Italian building. As pioneers in the field, Koopmans and Wicksell challenge us to rethink the value and continuity of art in the digital age and invite us to question our notions of time, memory, and heritage.
Stephen Rees: A lot of people will know you from your series “The Wild Inside,” which you do with Alice Wexell. Maybe you could briefly explain how you came up with the idea of creating artworks with and through abandoned architecture.
Ryan Koopmans: Wild inside is a series of digital artworks that bring new life to abandoned buildings from a bygone era. After 15 years of working as a documentary photographer, I felt the need to create work that involved more imaginative intervention rather than just a “real witness to the world.”
After photographing a series of abandoned buildings in the country of Georgia, we realized that there was more conceptual work that could be done to enhance the images and really emphasize the feelings and mood we experienced while exploring these crumbling ruins.
The result is a project my wife Alice Wicksell and I started, The Wild Inside, in which real-world physical spaces, in countries that have undergone dramatic transformations like Georgia, Lebanon, Armenia, Italy and Poland, are photographed and then transformed into conceptual artworks.
Upon our return, we digitally inserted plants and adjusted the structure and lighting with the aim of enlivening the empty spaces, essentially bringing the rooms back to life.
The result is a surreal collision between past and future, natural and artificial, physical and digital, and real and imaginary.
Furthermore, many of the buildings photographed in Wild inside They have been demolished in recent years or continue to deteriorate, emphasizing the theme of the passage of time in the cycle of growth and decay.
We have chosen to record the artwork [Ryan refers to ‘The Origin’, SR] Satoshi was mined on March 24, 2021, in honor of the day the first artwork from “The Wild Inside” was minted on Ethereum.
SR: What is magic and how do you do it? When is a scene the right scene and how do you process the image?
RK: We have long been inspired to travel to remote places and discover places that have not yet been extensively photographed.
Particularly interesting to us are buildings that have been abandoned and left to deteriorate without intervention. They serve as time capsules, especially rooms that have been closed off from outside visitors for decades.
It takes a long time to research, discover and photograph these buildings, and then create a work of art. Thus we are very selective in what we actually export to the world. Sometimes when we photograph a certain room, we have a feeling deep down that this will be an image that belongs in the project.
By carefully exploring and then creating images that are then transformed into works of art, our interests in architecture, nature, creative expression, and the human condition are activated.
The structures we like to build pieces on are inherently rare as many of them are deteriorating or have already disappeared since we first discovered them.
Whether due to fire, demolition, looting or the natural elements, in many cases buildings cease to exist in the way they once did with the rapid modernization of our world.
Most importantly, the artwork not only immortalizes and preserves itself, but also its subject on blockchain technology, acting as an act of artistic and interpretive architectural preservation.
SR: Why did you choose this particular location for The Origin?
RK: It was important for us to enter the world of Bitcoin engravings with a concept that not only embraced the potential of the technology, but also remained true to the themes inherent in our work.
Since the theme of time is a recurring element, we collaborated with the Inscribing Atlantis team to create a dynamic, time-based artwork. This widget seamlessly transitions between day and night modes, in sync with the Bitcoin clock.
To achieve this, the use of an interior design with expansive windows connected to the outdoor areas was crucial. Located in the forest outside a small town in northern Italy, this architectural space occupies the top floor of a tower. Getting to it was a challenge, requiring climbing to a window and carefully navigating along precariously suspended wooden floors.
The distinctive patterns on the walls and circular shapes within the space made it an ideal environment to build this work of art, as it seemed like the nucleus or encapsulating center of a great idea.
SR: In your announcement of “Origin,” you interestingly described both abandoned buildings and digital artifacts inscribed on Bitcoin as anthropological markers. Can you explain how this concept influences your work, particularly in terms of contributing to the broader discourse on digital heritage and cultural preservation? Furthermore, how do you reconcile the physical deterioration of buildings with the permanent nature of Bitcoin in your artistic process?
RK: Architecture serves as anthropological markers on the landscape, albeit temporary ones. Within the structures themselves, one finds marks left by people and the passage of time, whether by residents, vandals or forces of nature. The concept of impermanence and eventual disappearance of these marks inspires the idea of photographing, creatively intervening and then preserving the visual elements on the blockchain.
Exploring these buildings often reveals interesting artefacts, creating a sense of discovery that evokes the feeling of unearthing forgotten eras.
Ordinal inscriptions, although more permanent, are also digital artifacts scattered throughout the network. Over time, it will be interesting to step back and see the evolution of these signs, which range in quality and purpose, but reflect a distinct moment in time and the cultural context from which they were created.
While creating a digital artwork is a form of preserving that experience and idea, recording it on a secure and immutable blockchain elevates it to a higher level of permanence.
Our goal is not to create accurate representations or documentation of architecture. Instead, we aim to preserve our interpretation of this fleeting subject by crafting an artwork that depicts decaying buildings in a fantastically overgrown state.
Ultimately, our goal is for the artwork to outlive us, and using this technology provides a powerful way to secure the digital legacy of an artwork.
SAR: With the intention that your artwork will outlive you, how do you see the role of digital art in the future? Do you think digital artworks can achieve the same emotional and cultural significance as physical artworks once the physical impact is completely removed?
RK: Absolutely. Digital artworks are being created in an era where future display methods have not yet been fully realized. We still have to know what types of frictionless displays or immersive perspectives will be integrated into our daily visual landscape.
In current methods of displaying digital art, the appeal of printing it or displaying it on a wall screen lies in the residual value attributed to the tangible nature of the art. However, these methods are not ideal for displaying digital artwork to its highest potential, and directly “compete” with traditional art in the realm of physical display, which should not be the case.
As tools for creating and distributing art become more widely accessible, there will be an unprecedented boom in digital art production. In my opinion, it is inevitable that some digital businesses will reach the same status as some of the world's most valuable physical assets.
I expect the shift towards a more digital future to continue, especially with the emergence of younger generations who have already become digital natives.
While the preference for collecting physical or digital works may fluctuate over time, as cultural tastes often do, digital artworks are undoubtedly progressing toward achieving similar, if not greater, cultural significance even without physical influence.
Steve: For many artists, Bitcoin is still a new artistic medium. What made you decide to release work using Bitcoin in the first place? What are the peculiarities? Were there any difficulties or new opportunities?
RK: Being innovative and adopting new technologies is the core value of The Wild Inside project. We love the intersection between traditional and timeless art, while incorporating innovative techniques, which we have done in several cases. We were the first collaborator with AI artist Botto creating a unique collaborative artwork in partnership with Botto DAO. Additionally, we created an immersive 3D space for another piece of our work, allowing viewers to virtually “walk” into a painting that leads into an enlarged moving room.
While Ethereum has fewer file size restrictions when minted than Bitcoin, the development of redundancy has changed the game for us by enabling the creation of larger works of art through multiple inscriptions.
Each blockchain offers a cost-benefit analysis, with trade-offs and benefits in issuing works of art. The arrangements, which function as digital artifacts, evoke a sense of preservation of these deteriorating architectural monuments, works of art, on the blockchain.
Reaching new audiences is an integral part of being an artist, and the Bitcoin art community has been welcoming, supportive, and enthusiastic.
Furthermore, having the opportunity to work with such talented developers at Inscribing Atlantis means that custom artwork can be created and aligned with our artistic vision.
SR: The name “Original” suggests that there is more to come. Can you reveal anything about it yet?
The ability to create a source structure that organizes one's presence in arrangements is truly exciting. The parent-child structure of ancestors is very attractive, because it lays the foundations for future growth. We have left open the possibility of adding another artwork from 1 within the original in the future, and the structure allows for the potential release of versions within their own category.
What we will release next and when remains to be determined, but one thing is certain: now is the time to make a mark on Bitcoin. However, it must be done with respect and understanding of the culture and with creative purpose and meaning because once you make your mark, there is no turning back!
This is a guest post by Stephen Rees interviewing Ryan Koopmans. The opinions expressed are entirely their own and do not necessarily reflect the opinions of BTC Inc or Bitcoin Magazine.
