Transient Visions III: Ambr0sia
Welcome to Transient Artist Spotlights, where we dig into the creativity and passion of artists participating in Transient Visions, our ongoing Dynamic NFT exhibition. In these interviews, we learn more about the inspiration and processes behind their digital art.
Link to “When the Clouds Part”: https://superrare.com/0xc5abf1744d6247df4d499724d8c7d7f63d217d9e/when-the-clouds-part-1
Question: Who is Ambr0sia?
Ambr0sia is a contemporary artist exploring humanity’s evolving relationship with nature. Her artworks, websites, and smart contracts craft mythological narratives to give heightened meaning to landforms, plants, and animals and their respective processes. Underlying her craft invites viewers to deepen their relationship with the natural world.
Ambr0sia’s work is infused with a sense of boundless wonder and curiosity. Her artistic expression draws profound inspiration from places of her past. She hails from the Central Coast of California, where the tranquility of long beach strolls, the serenity of mountain hikes, and the vast expanses of the sky above captured her imagination.
Ambr0sia holds a Bachelor of Arts in Art History and a Master of Arts degree in the Humanities from the University of Chicago.
Question: You describe yourself as Pixel Princess; where does this nickname come from?
Hahaha, I really should probably remove that from my bio soon! I’m not narcissistic; it’s just a meme!
My mom coined the nickname back in March of this year. After seeing my Cumulus Peach Puff Cloud Piece (never minted, just on Twitter to test the pixel style), she called me a pixel princess. My brothers quickly jumped on the bandwagon, and I couldn’t escape it. I felt inclined to add it to my bio at the time because my work is pixel-perfect, and I am undeniably dramatic… But now I should probably hunt for new language to represent my work!
Question: How did you start doing pixel art? Which techniques do you use?
I have always loved pixel art.
For many reasons. Pixels feel like the basis of everything. Pixels are the atomic unit of art on the internet from the past to today. During the early days of computer graphics, technological limitations required artists to work with low-resolution displays and limited color palettes. What started as a necessity became an aesthetic decision. Today, it evokes a sense of nostalgia for graphics of the past. With the emergence of crypto art, some of the foundational cannon pieces (in my mind), like Punks, are pixelated. I love that! Pixels also allow for easy on-chain conversion (which all my contracts allow).
When I’m making my pieces, I start by taking a photo. Here is where I frame my subject and consider the concept behind my piece. Then, I manipulated the image in Photoshop. Clean it up, polish it, color correct it. Then, I use JavaScript algorithms to achieve pixel perfectionism.
As I’m creating my work, I’m inspired by Seurat’s pointillism — I come from a place of appreciating the different textures and patterns that emerge from the algorithm. And, like Seurat, I aim for viewers to experience optical mixing when viewing my work.
This technique makes images ten times less resource-intensive. In this way, my art can run on a mini-computer, requiring very little power or energy. As such, my work is not only inspired by nature, but it also channels the aesthetic of energy-conscious consumption.
Question: The Desk of Ambr0sia project is very different in terms of the technique you use in general. Can you describe the story behind that project?
Desk of Ambr0sia is my Genesis project! An experiment in collaborative world weaving.
At this point in time, the market had slowed, and I wanted to participate in the crypto art community in a new way: less jpeg slinging and more creating.
So, I made a new Twitter account — Ambr0sia — dedicated specifically to this endeavor. I was experimenting with new media: Blender, Processing, and Paint… and had settled on Blender. Committed to exploring my identity, artistic language, and aims, I started releasing art. When I reached 12 followers, I wanted to write a letter to each and every one of them, thanking them for being a part of my journey. And to share what I have learned so far.
So, I created a two-part piece: the letter and the looking glass. Blender modeled and HTML code — thank you @Yungwknd! When you click the A in the letter, a holder could connect their wallet (within the piece itself), and the underlying art would change to a looking glass that activated the camera. The token was self-aware, in knowing who owned it and did not — and reacted accordingly. The token was also self-reflective, in activating the camera and placing the viewer in the work itself.
Here’s an excerpt of the story:
‘to look outward, however, is far easier than to look inward. discovering the depths of ourselves requires effort, and rarely do we delight in that task. but, when we take the time to sit with ourselves, to inquire, to prod deeply. we find enlightenment is within us.
this is illumination.
both the piece and the medium communicate the rewards of knowing thyself. the token is self aware. the token can determine whether you own it or not: reacting & adapting to our inquiries, effort, touch. anyone who minted can access the looking glass so long as they hold the token. anyone who shared their address in the tweet or dms can access the looking glass indefinitely.”
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It was a great debut piece. While I no longer make art in this style, this process kick-started my artistic process, allowed me to lean into my love of storytelling, and previewed my commitment to medium-specific art.
Question: Let’s dive into your piece in Visions III drop with Transient Labs; what is the concept? Can you tell us how you came up with this idea?
when the clouds part
This Spring, I underwent a few serious injuries. Throughout my recovery, I had limited mobility: no driving, little walking, and no carrying things over 2 pounds. I felt like a shell of myself and spent inordinate amounts of time lying on my parents’ patio — watching the clouds float through the sky. It was a rare year of remarkable rainfall on the Central Coast, so the clouds were surprisingly more interesting than usual. The silver lining, perhaps?
I took many photos, and was amazed by the process of texturing and pixellating the clouds. The contours and organic formations felt very different than other pixel art. This process pushed the traditional boundaries of pixel art as an exacting medium into one that resulted from impressions of an experience, the subjectivity of the artist, and the uncertainty and randomness introduced by the code.
This piece allows the viewer to part the clouds themselves. In doing this, I want to ask what relationship we have to our condition? Do the clouds simply part, or do we, as active agents, play a role in parting them? How does this shift in framing influence how we experience and understand our present?
This piece marks the conclusion of this difficult period and an embrace of the future: one with art at the forefront, excitement for opportunities like these, and embodiment of the metaphor — when the clouds part.
Question: Can you please walk us through your creative process and what tools you use to create your unique art?
My duty as an artist is to share the stories that nature whispers to me.
To start, I go outside. Touch grass. Experience the world with an alert presence to take the best pictures, pique my curiosity, and interpret the environment around me.
Here, I take photos and edit them using Photoshop. I hone in on a particular color palette to set the mood and tone.
Finally, I use JavaScript to pixellate, setting the size of the pixels and algorithmic pattern. I am enchanted by the different tessellations and designs that emerge.
Question: Are there any mediums you haven’t explored yet but would like to? Which ones and why?
My latest piece, Wishing Tree, allowed me to push my boundaries in new ways! I start with a vision for the piece and then learn the skills to bring the vision to life.
I wrote my first smart contract to allow community members to inscribe wishes on-chain. I also built my own connect-wallet front end to make the process easy for the community. Then, I coded a dynamic HTML piece that showcased all contributed wishes in randomized order with a diverse color palette.
This process was challenging and took longer than I expected, but it pushed me out of my comfort zone and towards owning my whole process all the way through!
Question: You have another exhibition called the Study of Trees this month and Visions 3. How does being a part of so many exhibitions/showcases feel? Do you have any tips for artists who want to find and participate in more of those opportunities?
I’m honored to share the stage and grateful for the partnerships and support.
In the Study of Trees, Ev curated a remarkable lineup. Everyone had different interpretations of trees, and the experience was phenomenal. There was so much love, support, and respect for one another.
I feel thankful to be a part of Visions 3, too. As an emerging artist, having institutional support and belief in me and my ideas means a lot! I’m so appreciative of Daniel and the work that he’s put into making this happen. There are so many awesome artists; meeting everyone and learning about their techniques is great. Thank you, Transient!
As for tips, when you exude good energy, the world seems to bring it back! Put yourself out there, tweet, and respond… I guess that seems to have worked?
Question: Please share anything upcoming that you’re excited about!
I’m excited about this show! The onset of Autumnal vibes. Mead, that is brewing in my pantry. Crinkly leaves.
Every season brings a new experience and new stories to be told!
Ambr0sia’s Twitter: https://twitter.com/ambr0sia_xyz
Ambr0sia’s LinkTree: https://linktr.ee/ambr0sia
