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You might not know his name, but you’ve probably seen his work.
For years Alberto Mielgo has produced digital art for films, television and commercials. Notable works include an episode of Netflix LOVE DEATH AND ROBOTS (for which he and his team of more than 70 men have won several Emmys), music videos for The Gorillaz, and Spider-Man: Into The Spider-Verse, where he collaborated with Beeple, NFT’s digital art-turned-high art sensation.
Given the success of his former colleague and the high prices that NFTs regularly reach, Mielgo may well be the next commercially popular digital artist to use blockchain technology as a means of both reaching a wider audience and attract the attention of the fine art world.
Nerds taking power
Although he said he would reveal more of his philosophy regarding the decline as the auction date approaches, Mielgo said he finds NFTs as a production and distribution medium to be a natural choice for his work, as well as a process of democratization. Obligate.
“As a digital artist, I have always struggled to find the right format to show my work. And I felt that the “ art elite ”, which is really those 2% or 3% of the human population who have access to big galleries or art fairs, never deals with art. digital like art – they always thought we’re working on movies and commercials. “
The irony, he says, is that digital artists largely love movies, commercials, and popular culture – they’re nerds. But now, “the nerds are taking over.”
“Nerds think about cryptography, these beautiful abstract concepts. I think only our generation, or people who have been working in tech or in the cloud for so long, have we really figured it out. Most people need the physical object, they need the object, for them it is almost impossible to think of owning something that is not physical. I think we gravitate towards this world. ”
It’s a change the art world is struggling to keep up with, he said – after ignoring work like his for so long, they are now caught off guard. However, the new effort to make room for his work does not occur to him.
“I think it’s validating for sure, but not me personally, it’s more the world of digital art. I think Beeple entered the art world, but it was the people who already loved him that brought him there.
He said he suspected it was “the crypto-people, the younger generations, the new brains, the new thinkers… they’re like ‘hey this is OUR art.
Ultimately, it’s Christie who knocks on the crypto door, asking to play in “our” world and not the other way around.
Faces of fusion
The corporate world could also catch up, says Mielgo.
He deplores the current contractual culture of “bullshit” around digital art, which forces artists to give up their “soul”. It is a landscape conducive to a revolution: the art world is “behind”, the big studios are “behind” and the NFTs are opening up an alternative “parallel world”.
He told a story of when he and Beeple were working on Spider Man: Intro the Spider-Verse, where Beeple would submit fast, explosive, “super-psychadelic” clips with “hardcore techno” music. Mielgo showed the clips to Sony producers, delighted to see their eyes popped and jaw dropped.
“They couldn’t even process,” he laughs. “Everything was so fresh, like ‘oh my god’.”
It was a whole new world for producers, “who go to studios in limousines”, who “don’t connect with real people”.
NFTs are a way to start all over again, but on a larger scale.
“It’s a real slap in the face, all those dinosaurs.”
The auction will take place on Makersplace on April 14
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