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by Romero

Since leaving Pratt for the second time in the early 80’s I looked for a means to digitize art, like the musicians were doing with midi-controllers and photographers were doing with film less cameras.

I mentioned this here quite some time ago but Pratt in the 80’s had an Autodesk computer that I had asked to experiment with for art, but was rebuked being told it was for architectural students only. Besides they claimed it only drew straight lines of the type used in architecture. I still thought that might be useful creating art from straight lines alone.

I moved to Harlem, 241 W 111th St, a room in a large railroad flat and for the next decade and a half set about putting my ideas of art on paper, any that I could find not being able to afford a computer.

Original Drawing for – Atlantis Alone 1989

To recap again from past articles my first foray into digital occurred during 1988 to 1994. Starting with combining music with VHS videos [ Jimi Hendrix’s Crosstown Traffic with the Jetsons, Judy Jetsons’ driving lessons] to the Giclée process with a on the job inkjet printer.

So now since 1994 we have this body of digitally created work building and in 2006 I start to go totally digital to cut down on the need to destroy the environment with the need for wood, canvas, paints and shipping capable of handling delicate works.

The art world in push back to the new developments cried that unlike silkscreens produced in limited amounts we digital artists could produce limitless amounts of works. Although this was true, the same was true for the silkscreen without diminishing it’s value.

The issue was since 2006 two things, make the works unique and how to authenticate the uniqueness, while certifying the creation of the artist. I was introduced to the workings of the blockchain by an online friend, crypto enthusiast Theo Goodman.

2017 Enter Codex Protocol using the Ethereum blockchain and smart contracts to authenticate and track provenance of assets. The missing piece for digital works allowing everything I just mentioned, plus the ability now to sell and transfer the records and work all online in a climate friendly process.

This is the real use case scenario for crypto and the block chain. While powers that be try to destroy the profitability of the blockchain, they cannot destroy it’s usability.

This is actually a very good time for the emergence of collecting digital art in the product cycle. It is not very popular yet and well known, the price of Ethereum is in the toilet courtesy of the detractors claiming it has no use, my buddies at Codex and OpenSea have adopted using fiat to exchange for transferring records and purchasing the art assets.

Finally pulling this all together I have established myself as a Master Creator pulling all the components together so the value of art can be appreciated by all with the IkoVuX [pronouced eeKo Vu] system across multiple display platforms connected by the internet. Yes this fact of the emergence I helped to create the vision and being recognized as an acclaimed listee in Who’s Who In America 2019.

Try [below] and or buy my new work, ‘ Chaka Khan – Al Fresco 10-5-2019 by Romero‘ on your cell phone or big screen TV using Chromecast or compatible ‘Slides’ presentation software.

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