Established in 2018 by the forward-thinking team at Snark.Art, OG Art aims to redefine the NFT landscape. The platform is known for its creation of dynamic, generative, and interactive pieces. It brings a different approach to art in the digital sphere. At NFC Lisbon, OG Art’s Executive and Curatorial Director, Nadia Taiga, spoke with NFT Evening. She shared some key insights about the platform’s recent developments and philosophy.
TL;DR
- OG Art, a platform established by Snark.Art in 2018, specializes in creating dynamic, generative, and interactive NFTs. Its goal is to transition collectors from passive observers to active contributors, cultivating a vibrant community of crypto-art enthusiasts.
- They’ve introduced projects such as ‘Original Crystals’ and ‘Heterosis,’ where artworks evolve based on internal or external data and the actions of collectors. These dynamic NFTs foster collaboration, nurture an interconnected ecosystem, and enable collectors to influence the final piece.
- Despite the current bear market, OG Art remains optimistic, focusing on creating impactful projects. Executive and curatorial director Nadia Taiga believes this is a prime time for developing strong projects.
Dynamic NFTs pushing the boundaries of art
After the inception of OG Studios in 2021, OG Art took a leap forward with the launch of the OG platform in 2022. Dedicated entirely to dynamic NFTs, the platform explores how artists can leverage the blockchain technology. “When I speak of dynamic NFTs, I am referring to artworks that are alive and evolving, pushing the boundaries of art and blockchain technology,” Nadia Taiga says.
“These pieces transform based on internal or external data or the actions of the collectors. What’s fascinating is that every collector becomes an active contributor to the final artwork.”
OG Art goes beyond merely providing a platform for the creation and exchange of NFTs. It empowers collectors to transition from being passive observers to active participants in the art world. This has led to the emergence of a community of collectors who contribute to the creative process, with the artists.
Dynamic NFTs present some benefits. Alongside facilitating the fusion of creative energies of collectors and creators, they also foster collaboration between interconnected projects or brands, thereby nurturing a thriving ecosystem. “Some liken it to a ‘Tinder for Creative Growth,’ where your chosen NFT pattern can echo your deepest desires and shape the final artwork,” Taiga explains.
Gamification of the art world
The maiden project of OG Art that involved dynamic NFTs was launched in 2021, titled ‘Original Crystals’ by Michael Joo and Danil Krivoruchko. The platform and the artists collaborated to create ten crystal seeds. For the crystals to grow, the collectors needed to sell them to another crypto wallet.
The original collector’s wallet data then contributed to the growth of the crystal each time it was purchased by a new collector.
Each piece had the potential to evolve up to seven generations. Some reached the maximum generations, while others halted at earlier stages. “The artwork symbolizes a sense of communal identity, as no fewer than seven individuals contributed to creating the final piece,” Taiga says.
OG Art’s most recent venture is ‘Heterosis’ by Mat Collishaw and Danil Krivoruchko, unveiled in March. The project hinged on both internal and external data, with the lunar phase influencing the breeding of flowers in the artwork. Collectors, yet again, played a pivotal role as co-creators of the final artwork, this time by cultivating the flowers and unlocking unique traits through the application of DNA combination logic.
Taiga notes the trend of gamification in the art world, saying, “It makes the experience more engaging. It’s in our human nature to play.”
In spite of the prevailing bear market, Taiga remains optimistic. “It’s an opportune time to develop substantial projects because there’s less noise”, she says. “Strong projects can attract collaborators who truly appreciate art. They’re not here for short-term profits. They’re here to be a part of art history, and that’s precisely what we’re doing.”
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