pkok art on Warpcast

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We thought hard about being a @moxie.eth Hero this week and how we'll celebrate that. Introducing Pkok Finterviews - Cast-form farcaster interviews, 20 questions to some of our favorite people. We aim to tell stories of phenomenal individuals shaping the art ecosystem on web3. It's also a great way for us and other heroes to get to know and engage with them. Oh! each interview starts with /degen love. But wait, there's more! These Finterviews are not restricted to only those we tag. If you'd like to participate, just respond to the questions and join the party, everybody is invited to be a part of these Finterviews. Tell us more about yourself, read other people's stories and hopefully we all get to know each other better by the end. Pkok Finterviews, a 🧵

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Everyone is welcome to our Finterview. If you want to participate, let's start with this one... What does the term “masterpiece” mean to you?

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Hey pkok! Let's go: For me, a masterpiece evokes emotion, whether it's good or bad, and it never goes unnoticed. It doesn't necessarily possess technical precision, but rather embodies feeling, heart, effort, dedication, courage, affection... I believe that a masterpiece cannot be truly recognized as such without standing the test of time. It transcends its era and remains timeless. My 2 cents 😅 😅

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Welcome to Pkok Finterview, Off! How would you describe your artistic style to someone unfamiliar with your work?

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Thank you, pkok! I'd describe my style as punk, disruptive, and conceptual. My work focuses on exploring errors, glitches, and bugs through code-based glitch art. My pieces follow a philosophical approach, aiming to delve into the imperfections of systems, whether they're natural or artificial.

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Can you elaborate on the philosophical approach? This sounds intriguing... And by the way, thanks for being with us 1000 $DEGEN

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Thank you so much, pkok!! Yes I can... During my Visual Arts degree (2015-2019), I developed a research and a series of etchings exploring our metamorphoses, the difficulties we face when confronting these changes, and how they affect our environment and reality, using Franz Kafka's novel The Metamorphosis as reference. When I started exploring digital art (2021), I continued working on this idea but with a new perspective: thinking of the individual as a “bug” within society. So I developed "The Bug Theory" (2023), which now underpins my current artistic production. I'm going to leave two links that point to the development of this idea. I think you’ll enjoy reading them. https://x.com/ctrlshiftOFF/status/1706597450247540791 https://x.com/ctrlshiftOFF/status/1780959541699764401

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It will be an interesting read after the talk. What initially drew you to art, and how did your journey as an artist begin?

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I was very artistically encouraged by my parents since I was a child. I learned to read and write at home, and my earliest memories are of me drawing with my mom, playing guitar with my dad, and gaming with my friends. During classes, as a child and teenager, I would draw on desks, the back of tests, and on the walls at home and in the street. I took dance, theater, and painting classes, and I had bands throughout my life until I was 22. My parents passed away when I was still a teenager, and I went to live with my uncles, who didn’t see me as an artist. This made me stray from that path and seek something more socially acceptable. I tried to go to college for business administration and law, but it didn’t work out. At 25, I dropped everything and went to art school, graduating in 2019. Since then, I've been working to live off my art. With the pandemic, I migrated to digital art, and here I am. I didn’t choose art; it chose me. 😁 😁

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Seems that you are another natural born artist. Is there anyone special, that helped you when you were starting out, and what difference did they make?

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Yes, there were several people who helped me a lot, but especially my professors and mentors during my undergraduate studies, Helga Correa (IG @correa_helga) and Suzana Gruber (IG @suzana_gruber). They taught me to think about art and, above all, respected my pace, making me believe in my potential as an artist. They were fundamental to my artistic maturity and development, especially Helga, taking my works to exhibitions when I didn’t believe I could be accepted and showing me that it was possible to live off art when I was feeling discouraged. I owe a lot to them. And in the web3 space, I need to highlight @kflemmer. He managed to identify this conceptual side of mine and also believed in my work. Without even trying, just by being who he is, he changed my relationship with digital art and the community and has always been very attentive and helpful. He is undoubtedly a reference for me and a good friend. 😅

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Let's take a little break from the art world and talk about the space that we all use on a daily basis. How has your FC experience been so far?

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My relationship with social media is still a bit complicated, but I’m improving that. I notice that people here are quite focused on getting tips and engagement to make some money. I don’t see anything wrong with that; everyone has their intentions, and I really respect people’s individuality. But I find it a bit difficult to identify sincere engagement. I also think it’s hard to build closer relationships with collectors. I believe this is one of the main challenges of decentralization, not a problem with Warpcast. This ultimately leads me to be more careful about who I follow and interact with, which, in turn, reflects on the interaction I receive. One solution I’m working on is that I just created (today) the /error channel to bring together artists and collectors interested in exploring errors in art. The cool part is that I was able to create this channel with the tips I received here in Degen. In summary, I like it here, but I’m not selling art trough here yet.

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However, there must be some people who make your fc experience exponentially better. Who are they? If you don't mind telling us...

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Sure, I know amazing people here. I can mention several names of people whose work I really like and enjoy talking to, the /veg channel is my home, @midnightmarauder.eth and @milibooo are doing a great job to elevate art and people, @yatima, is a great procedural artist and friend here and helped me a lot , @trillobyte is amazing artist and a big inspiration, @tatertots is a great street artist and super friendly, @goregif, @sashelka, @karmillashelly, @neverlee, @moranicol, @ivnhgo, @kinwiz, @squishna, @alleytac... and so one. These people are pure gold!! 😁 😁

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We hope you'll find your way in the /pkok community too. We are welcoming all artists! So let's get back to art... Can you share a moment when you felt truly proud or fulfilled as an artist?

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I’m already a member of the channel and intend to participate actively, thank you very much, pkok. I’m a very introspective guy and have had a relatively difficult life, which has made my artistic journey quite challenging, but everything is aligning now... I remember the first international exhibition where my work was shown (and I couldn't attend in person), but it was a really nice moment.. it was a group exhibition of prints in Uruguay. I’m very proud to still be creating despite all the difficulties I’ve faced. That, for me, is my greatest achievement and what fills my heart. Every time artists I admire collect my work, I feel very, very happy. The support I’m receiving from everyone in Web3 is extremely gratifying. I still have a long way to go, and I know that a lot can still happen. 😁

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Well, life is made of highs and lows. The good news is that a high will be next, after a period of lows.😄 How has your art evolved over the years, and what has stayed consistent?

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Yes, like a roller coaster😅 My art has evolved a lot. Like most artists, I think we often start with drawing and my art education was classical. But early in my degree, I gravitated toward printmaking (woodcut, lithography, etching) and ended up specializing in it. However, because of my punk ideology, my art inevitably followed that path as well. What has stayed with me is the idea of art as philosophical thought. I believe in that art should "comfort the disturbed and disturb the comfortable". I also learned to explore the concept of error in art through glitch and I use code to corrupt gifs and images. Sometimes it leans more conceptual, sometimes more visual, but it’s always subversive. From printmaking, I keep the serialization aspect.. I’m not much of a 1/1 artist. I’m now integrating JavaScript and 3D modeling to explore new areas in digital art. This is the path I’m on, and I strongly believe that generative art is the most avant-garde movement in the art world today.

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We are on the same page about generative art! And by the way, I had some time to read the links you provided before, and it was impressive as there are some remarkable ideas there. Your thoughts are very deep and perceptive. In relation to your last reply, what do you want people to feel or experience when they see your work?

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I’m glad you were able to read it and enjoyed it. That means a lot to me.🫂 And look, this one’s easy. In my experiments with game characters, I’m purely exploring aesthetics and that nostalgic feeling. But overall, I want to provoke critical thinking and raise class and social consciousness. We live in a world overtaken by advertising, and our consumer relationship is unsustainable. I understand that art is the best mechanism to foster critical thinking. But to achieve this, we need to make art accessible to the masses, and that’s a long journey we have ahead of us.

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Can you elaborate on the idea of art accessibility to the masses?

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Yes, I can. First, there’s the idea of academia and the debate over what constitutes art or good art. For this kind of discussion, those involved must have substantial knowledge of art theory. Here lies the first division: access to in-depth art education is primarily for those who have access to education itself. Class consciousness is fundamental to understanding that not everyone has access to this kind of information. Another divider is technology. Although we are in the most technologically advanced and informed era, this technology is not mastered by the general population. Just as academia caters to the elite, so does access to digitization and technology. Many people have access to phones and the internet, but the reality is that few know how to use this access for artistic production or appreciation. And for that to happen, everyone needs access to information, the knowledge to use it, and enough education to discuss what art truly is. A long way to get there...

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Although we heard a variety of opinions on the matter, your final statement—"a long way to get there"—seems to be the unifying factor 😁 If you have time, let's continue our conversation. As an artist, what does beauty mean to you?

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Beauty is something very subjective and individual. It's complicated to define what beauty is. But, to me, beauty isn't something you see; it's something you feel. The beauty of a peaceful, equalizing act. The beauty in life itself. This question of what is beautiful and the pursuit of beauty is an old, classicist concept. In contemporary art, beauty isn't a relevant factor. Unfortunately, we were raised in a society with values rooted in Greco-Roman aesthetics, where perfection of form, the perfect body, is idealized. But contemporary art no longer considers this a big deal, right? Neither do I. Art doesn’t need to be beautiful... it needs to evoke emotions and reflections, challenging the observer to feel rather than just admire. I work with error. So, to me, failures are beauty.

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Speaking of failure, can you talk about a moment of failure or doubt in your journey, and what it taught you about your craft?

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I’ve had many moments where I thought I had failed, but each of these moments taught me something new. I understand that our environment directly influences our being, and for a long time, I was denied the idea that I could make a living from art. It took me quite a while to reconnect with that belief, to trust in myself and in my art again. What I discovered is that creating art is, in itself, a subversive act because it challenges traditional norms, and that alone is incredibly challenging. I often say that I'm going 200 km/h in the wrong direction. That’s how I feel. And I’ve discovered that’s what gives me joy in life.

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If it brings you joy I'd dare to say that it's probably not the wrong direction. How do you handle creative blocks (if any), and what helps you find new inspiration?

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That's right, I'm definitely not going in the wrong direction. Well, I’m quite creative; I rarely experience creative blocks, but they do happen. What I do to minimize that is to keep studying, always learning new things, and constantly challenging myself to push my limits. This, in turn, puts me in an exploration mode. I seek a lot of inspiration from what my colleagues here are doing, how they are solving their works, and what new things they are working on. But there are times when I need to stop everything, step back, connect with nature, breathe, and get my head in order. For that, I write a lot, play guitar, read, and especially talk with my friends IRL. I’m fortunate to have friends as creative as I am; they are also a source of inspiration. I surrounded myself with artists, and that is priceless.

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Can you go deeper into your process of working with errors and describe the relationship between chaos and control in your creative process?

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My process is very chaotic. Right now, I have three collections in progress: PRESS-START (distorting GIFs of games), MEMORY-MALFUNCTION (exploring the perception of memory through images of objects from my childhood), and IDIOSYNCRASIES (exploring human peculiarities). In all of these, the process is basically the same: I look for references, GIFs, videos, and images. When it comes to videos, I select fragments that I like and export them as GIFs. The second part is creating the code to distort that. Over the past year, I've created various visual effects through pixel manipulation, and now I'm developing an interactive visual modulation system in JavaScript where I’m linking each glitch to a key on my keyboard. Just like in music, I compose the works. Chaos is created when I make intentional mistakes in the code, resulting in unexpected effects. The order comes from the composition, applying these glitches in a way that is harmonious. I’m not sure if that was clear, but it's a very interesting process.

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Pretty clear and very interesting. If you could collaborate on a piece with any living artist, who would it be and why?

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That question is a bit tricky. There are so many artists I'd like to collaborate with, but I think collaborations should be spontaneous. I’d love to work with artists who also create glitch art, which would result in glitch on top of glitch and it can get complicated. But recently, I did a collaboration with @kflemmer, which was kind of in the same idea, and that turned out really cool. It would be a dream to collaborate with @ex_mortal_ (on X), someone I respect a lot, who works with analog glitches. Another artist I've already mentioned here is @trillobyte, who is an inspiration for me, and I’m kind of copying him in some aspects 😅 and @glitchtown. Outside of the glitch art field, there are some pixel art folks I really like. They know I like their work, and a collaboration would be amazing. But like I said before, I think collaborations should happen naturally. I wouldn’t feel comfortable just approaching someone to propose it. These are a few that came to mind, but there are many others.

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