So to start, can you tell me a little about the inspiration behind the exhibition, and specifically, why the colour orange?
The concept of the show was planned around the work of Flo Meissner, Seba Cestaro and Blank Embrace. We wanted to work with them and the colour orange plays a significant role in each of their practice’s. The psychology of colours, and the different associations and interpretations that a colour can have, is something that we personally are curious about.
The next step was getting together a group who also interacted frequently with this colour, or who had an interest in doing so, even if it implied stepping out of their comfort zones.
What was your curatorial approach for the show, and how did you select the final artists?
We studied the psychology of colours and became immersed in a wide range of interpretations and views. We analysed trends, meanings, associations, and the general importance of a specific colour in different cultures and regions.
We studied the psychology of colours
Understanding the difference that each collective or culture gave to colours led to us inviting 13 artists from all walks of life: instead of imposing a very specific theme and result, we wanted to discover the meaning and their interpretation of the colour orange.
Having led with a colour, were you surprised by any other themes that emerged across the work that will show?
More than a specific theme, we were impressed by the capacity of the artists to step out of their comfort zones and adapt their works to what we imagined.
Why do you think it’s important to have artists from around the world featuring?
Inclusivity and opportunities. It’s what Web3 preaches and is a part of its ethos. As a photographer and a migrant myself I understand how hard it can be to adapt or find your place in a new environment.
Futura Drops “focuses on onboarding traditional artists to the digital medium and the fascinating world of Web3”. Can you talk a little on this process, and the interplay between ‘traditional’ art and Web3?
The transition from Web2 to Web3 is still in an early stage. That being said, there’s still a lot of friction for non-tech or non Web3 people, in particular artists, whose main focus should be on creating art, rather than constantly dealing with and staying on top of the emerging technologies and new tools available.
Digital art has been around for a few decades now. The difference is that you’re now seeing traditional artists incorporate digital tools in their practices or simply digitising their work for commercial or marketing purposes. Our goal is to provide them with educational tools, support, and a network of individuals with the same interests and with knowledge in this innovative technology to help them grow.
There was a lot of noise about NFT art recently, with some corners dismissing it as a fad or over-hyped. Why do you think it has longevity?
Most of this happened in the collectibles (pfp projects) side of things. The blockchain technology provides very useful tools and features for the art world such as provenance, authenticity and transparency.
The longevity of the space has a strong foundation
We believe in digital art as a medium and it’s just a matter of time for it to be granted with proper cultural legitimacy. This is why the longevity of the space has a strong foundation. Similar to what happened with other art mediums in the past: impressionism, photography, and so on.
What’s next for Futura Drops?
More art, events, collaborations and experiences. We’ll continue to support crypto native digital artists, play our part in helping grow the space, and do lots of work focused on building bridges between the traditional art world and the digital space.
