The interview was conducted as part of the SR exhibition “Motion Design, NFTs, and Art.”
The exhibition features Gavin Shapiro, aeforia, beyondbola, Blake Kathryn, Sasha Katz, Adam Priester, Steven Baltay, James Owen, smeccea, Esteban Diacono, Alessio De Vecchi, and Render Fruit (click links to view interviews)
Adam Priester – Artist, raised in Sweden, currently residing in Berlin. Never satisfied, always improving. I value high technical execution and constantly honing my craft.
I think everyone has their own metric to determine good/bad, my ideas of good/bad don’t apply to anyone else and are therefore rather meaningless. In my own work I value constantly improving my techniques, it feels lame to make something that I already know how to do – a silly notion.
What kind of motion design do you think is worth collecting, what should people look for when determining the value?
Again, up to the individual. Whatever speaks to you. As much as i would love there to be i don’t think there is, or will be, any correlation between time invested, technical ability or even the aesthetic quality and the “worth” of a piece.
How do you develop your own signature styles?
I don’t think there’s a formula. Worldbuilding is important.
What tools do you use?
I use Houdini/Octane/Redshift.
What themes/subject matter/topics do you often address in your work?
I usually just get glimpses of moods, feelings or techniques I would like to explore.
I’d like to give the viewer enough ingredients for them to make up their own interpretation of the piece. That’s their job after all, I just make it.
Can motion designs become a fine art genre and enter the mainstream art market through cryptoart?
I honestly don’t really know what motion design is anymore. I don’t consider myself a motion designer. Even though I design things in motion? I don’t like labels.
Motion designs’ role in contemporary culture?
I think we help companies sell more shit?
The role of social media in your art career?
Posting on Instagram was a good motivator in the beginning at least. Connecting with other artists has been invaluable. Also the dopamine rush of posting something and getting a bunch of comments and likes was good. Nowadays I prefer Twitter, sadly I have no clout there. Follow me?
Should motion design be considered as art or design? What’s the difference between art and design in your opinion?
I feel like I’m in University again. I’m sure some of the others had some really smart answers here.
What is motion design’s past, current and future place in the art world/market and art history?
Consulting the time lords. I will report back once I hear from them.
Why do you think motion designs are on average highly valued in the crypto art market?
A lot of it is pleasing to look at, I personally much prefer animated pieces when it comes to 3D. I think there is also a huge mystery surrounding what it takes to make something in 3D which might add to it’s value.
What are the differences between the crypto art world and your original background?
What value has crypto art added to this motion designer community? What do you think of the team up between motion designers & cryptoart?
I’m not sure there has been much of a team up. But overall i think people are thrilled for an opportunity to make proper money with their art, instead of creating advertisements for companies to ravage our planet more effectivley.
How has your cryptoart experience been so far?
My mind has been in a lot of different places during this journey, it is hard to put into words. It’s been a trip. But mostly I am insanely grateful to all of my collectors that have decided to purchase a piece of my work. It has allowed me to take a few months of “commercial” work and just focus on creating more art, something which I haven’t had much time for the past year. So thank you all from the bottom of my heart.