Editorial is open for submissions: [email protected]
In Conversation with peenpoon
Visual representations of personal reflections on our modern idea of spirtituality. Driven by the mythos and legends of old, processed through the technological tools and perspective of our modern times.
Q: Hi peenpoon! You take a deep interest in liberation by way of technology access and advancement. Does this stem from personal experiences? If so, what can you tell us about liberation through your lived lens?
A: Yes, I am currently experiencing a personal liberation. I feel this began when my mom bought me my first personal computer when I was 16 years old. In the nine years since I have modified and converted broad ideas into cohesive pathways that have uncovered potential channels of income. For me, this translates directly to two forms of liberation: mental and physical, in that order.
I attempt to cultivate mental liberation by meeting new people and creators through the internet. As a born and raised resident of the deep South, it can often feel very isolating in terms of locating amicable artistic communities. Technology has allowed me greater access to locating these groups by removing the spatial boundaries that typically negate physical connection. As well, through technological advancement, barriers of entry such as resources have been bypassed. What I mean by this is there is a great deal of what is called open-source technology available for use. Open-source tech is free and the community works together to improve it and send out copies of it to everyone across the globe. I try to use open source tools because my socio-economic-status as an artist has always been one that resides below the poverty line. I don’t have the financial ability to purchase expensive software, thus some open-source programs I enjoy using are Blender, the Octane add-on, Daz-3-D, and Unreal Engine.
Returning to liberation, aside from the mental aspect I also feel there is physical liberation to be found in technology. Specifically, I’m no longer bound to a 9-5 job. I’m able to work at my leisure and plan a schedule rather than sacrificing my life energy for a corporation’s gain. I think being able to work for yourself is one of the most powerful and liberating things you can do and I’ve only been able to because of my access to advanced technology.
Q: Now that we know what you’re about, can you give us the gritty details? What mediums and programs do you use? As well, are there common themes or intentions within your art?
A: My primary mediums are 3-D art, 3-D animation, live visuals, and digital design for 3-D animation. My favorite programs to use are Blender, Daz 3-D, Octane Render for final video editing. I use both After Effects and Premiere by Adobe for live visuals as well as Resolume and Synesthesia. For standard digital design, I frequent Adobe Illustrator and Photoshop.
As for themes through my art I primarily explore my ideas and questions concerning spirituality. In my meditations, I’ve come into contact with goddess-like figures so I enjoy exploring them conceptually. By creating representations of goddesses in esoteric heaven and hell-like spaces, I can process different ideologies and philosophies that otherwise feel much bigger than me.
Q: In the last year, you’ve created over 20 goddesses, what are your goals for the series as well as intentions for its future?
A: My goals for the series include sharing my work with new audiences, making connections with similar artists, and continuing to explore my mind alongside complex ideologies. For the future, I hope to expand beyond the limited context goddesses that I am currently constructing and move into creating narratives that tell stories. Overall, I will continue indefinitely to explore the goddesses. Alongside my explorations, I recognized in hindsight that my creations often are a direct reflection of both my state-of-mind and my skill-set at the time. I think this facet is ultra-important as I can watch myself grow and develop. If you view the goddesses chronologically, my use of Christian imagery is very apparent in my early work but has faded over time as I’ve explored conceptions and interpretations of what spirituality could look like. I plan to continue distancing my art from traditional views of religion to the point that any idea I have concerning spirituality can be comfortably translated into my art. For the time being, I have quite a few new pieces and collaborations in the works that I can’t wait to finish and show!
Q: How has participation in crypto communities such as SuperRare advanced your journey towards liberation?
A: Crypto art, or art that has been digitally signed by cryptocurrency such as Ethereum, has advanced my journey towards total liberation by presenting a new frontier. I’m certain that this form of art sharing is an improvement to the traditional realm of exclusive fine art gallery spaces which makes me truly excited to participate in the experience that SuperRare provides. Sites like SuperRare feel special and different from gallery spaces because they make a point of going against traditional norms by welcoming minority artists from across the globe to participate in a market which many of us would be barred from otherwise. I have been given a space to take-up on this platform and I intend to use it to my best ability.
Q: Would you like to take a moment to shoutout any creators who inspire you or friends who have helped you on the way?
A: Absolutely. Number one, thank you, mom.
Second, thank you to Dave Tipper for building the most beautiful and loving community I have ever had the pleasure to be a part of.
I recommend you check out all of the artists I’ve mentioned above!