1. In the world of digital art collecting, it takes a unique vision and a pioneering spirit to commit to build a collection that both embraces the cutting-edge technology, and anticipates the artistic innovations of tomorrow. Through ups and downs of the market cycles, it’s the collector who brings the support of the vision of emerging creators, often before the market catches on. Their role is foundational to fostering new ideas, pushing boundaries, and ensuring that innovative, often challenging works find a place in collections and therefore digital history. In many ways, collectors are collaborators in the cultural narrative, making them indispensable to the progress of art itself.

Kate Vass continues her mission to understand the perspectives of a new generation of collectors. In this interview, Kate speaks with antagonist4ever—a thoughtful art collector who values diversity in both artistic expression and social impact, with a conscious focus on supporting female artists and highlighting underrepresented voices, while maintaining a clear vision.

We hope you find as much insight and inspiration in this conversation as we did learn more about the mindset behind his collection.

100 Series: “Portraits of Imaginary People”, 2017/21 by Mike Tyka

1. KV: What inspired you to focus on digital art rather than traditional art forms or do you also collect more traditional art?

A4: To answer upfront, art investments were not part of my portfolio before. Since diving deeper into Bitcoin in 2017, I became aware of the significance of digital assets. The basic idea of blockchain, complemented by smart contracts, enabled NFTs to provide a way to verify proof of ownership in the digital world. Whether and how much the art world would be impacted by this and whether artists would benefit from it only became clear to me over the course of 2021. I started researching art genres and artists and created a correspondingly long "buying list" of artists and works – somehow, it keeps getting longer instead of shorter.

Glitch Morning by Itzel Yard, 2022

2. KV: How do you decide which pieces to add to your collection?

A4: As with other investments, in my decision-making process, I incorporate experience, research, as well as my gut feeling.. An artwork must have an impact when viewed. I have a collecting strategy in mind, and depending on the price and the theme I’m currently engaged with, I then make the decision for a particular piece.

OG flowers #10 by Cornelia Sollfrank, 2022

3. KV: What role does personal taste play versus investment potential when acquiring art?

A4: Even in the digital art market on blockchains, it’s all about supply and demand. Fortunately, many of those who shaped the demand in the past were merely monetarily motivated and are now busy with topics other than art. In my opinion, the current environment offers long-term art collectors a great opportunity to combine investment potential with personal taste in art purchases. I wouldn’t acquire a work if it didn’t appeal to me aesthetically. Currently, I believe there is an opportunity to build a significant collection. Art is certainly an asset class, but I have no intention of ever selling the collection. Optimizing it in terms of quality and personal taste is more appealing to me in this context.

[[[vessel_within_vessel_0099]]] by Sofia Crespo, 2019

4. KV: How would you define your collection?

A4: “Diverse” probably describes it best. In the beginning, I was mainly interested in works that were in motion. Later, a specific idea of collecting took the forefront. It was about focusing not just on artists and genres but also on social issues. When I acquire a work of art, I know exactly how it can be presented to the public one day. In the early days, I acquired works by Itzel Yard, Sofia Crespo, Jen Stark, Sarah Zucker, and Sabrina Ratté. Not because I intentionally wanted to focus on works by female artists, but because I liked the art. This naturally led to a more conscious effort to include works by female artists in my collection. I believe it’s important to show that the space is not just dominated by a “bro culture.” It’s about acceptance and appreciation of art, which is why I also made purchases on International Women’s Day (e.g., Helena Sarin) in March this year. Besides that, there are many other wonderful themes and genres I’m passionate about.

Wavelength by Jen Stark, 2021

5. KV: Can you share a story behind one of your most cherished pieces?

A4: I don’t know if it’s one of the most valuable artworks, but it was my first commissioned piece, and it holds a special meaning for me: Interdependence Day by Sarah Zucker. The initial idea came from me asking if Sarah Zucker could create a piece related to one of the UN SDGs. Sarah chose "Life on Land" and interpreted it in her characteristic and, in my opinion, captivating way. We then arranged a minting date – which was very exciting and new for me at the time.

Interdependence Day by Sarah Zucker,2021

6. KV: How do you evaluate the authenticity and provenance of digital art in your collection?

A4: I believe blockchain is the best proof of authenticity one can imagine. Tokenization of real-world assets and investment funds on the blockchain show that this is just the beginning. On CT, you often see “maxis” of certain blockchain ecosystems; I’m personally not a fan of that. I believe that different blockchains will coexist. In my opinion, many good artists are active on Tezos; anyone interested in art will surely find something there. “Here for the Art” was the slogan for many. I hope that the provenance of Tezos will gain a similar standing as Ethereum’s; it would certainly be a win for the art world.

7. KV: What trends do you see currently shaping the art market?

A4: Currently, it’s mainly about AI and the marketing of early AI art and bringing it onto the blockchain. Getting into this topic requires a lot of time. Should one start with CNN, RNN, or GAN? Is it about the artists or the creators of the technology? How is the model trained? Which applications are being used? I don’t think there’s a right or wrong here. I’ve found my own path: I like art that is recognizable as such and has a unique character. The art that has its own character and appeals to me. I try to build my own style of collection, which I think I’m doing quite well.

Deeper Meditations #1, 2021 by Memo Akten

8. KV: How do you balance supporting emerging artists with acquiring established works?

A4: If I like something or find it meaningful, I acquire it, regardless of its fame. I believe my portfolio has a healthy mix. I still remember the first purchases of Kim Asendorf or Leander Herzog. Both were special. I could watch Kim Asendorf’s pixel sorting forever; Alps by Leander Herzog also spoke to me as someone who loves the Alps but also minimalism. I think very few people on CT knew these names back then. But were these artists up-and-coming or already established? Perhaps up-and-coming for CT, but already established for some curators.

9. KV: How do you see the role of NFTs in the evolution of digital art collecting?

A4: For me, ownership of digital assets is the new zeitgeist that most people haven’t yet grasped—neither with Bitcoin nor with NFTs concerning digital art. I am firmly convinced that traditional art collectors will increasingly engage with this topic. In my opinion, we are still very early in the development phase. The significance and value of a collection acquired today will only become evident in decades.

10. KV: What challenges have you faced as an art collector?

A4: As I mentioned earlier, many market participants in the past (and CT loudspeakers) presented themselves as purely financially driven. Their passion is not art, but gambling. The current market is thus undergoing a cleansing process. As a result, many artists currently face only a few long-term oriented collectors, whose purchasing power is not unlimited. Neither is mine, which means that I always have to reassess my buying list in terms of the prioritization of works. In my opinion, the digital art market will emerge stronger from this.

Sun Spot, 2021 by Zach Lieberman

11. KV: How do you see the relationship between digital art and physical spaces, such as galleries or museums, evolving in the future?

A4: I hope that children in schools will be introduced to the blockchain medium at an early stage. This can happen in IT classes, economic policy courses, or even in art classes. Schools as exhibition spaces would be a great first step. It would generate interest and awareness. The more digital our society becomes, the more I see the need for physical spaces to display art. I have no doubt that new museums focusing on digital art will emerge. However, it’s capital-intensive if the presentation is to be appropriate for the occasion. Impressive private collections are currently being assembled and will certainly be presented at some point.

12. KV: One last question—what inspired you to come up with the name "antagonist4ever"? Does it hold any special significance related to your collection style or artistic vision? I'd love to hear the story behind it!

A4: I am “antagonist4ever” because I see myself as a quiet yet determined forward-thinker. My decisions don’t have to be loud or dramatic – but they are always thoughtful, focused, and driven by a vision that goes beyond the obvious. Both art and life sometimes require exactly this: the willingness to swim against the current, to be bold, and to walk your own path while thinking in more than just two dimensions, discovering possibilities that others might overlook.

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*The responses provided in this interview have been preserved in their original form, with no alterations to the interviewee's stylistic choices or grammar. - Kate Vass

antagonist4ever on X: @antagonist4ever

Collection links:

https://deca.art/Antagonist4ever/1of1

https://deca.art/Antagonist4ever/women4rt

https://deca.art/Antagonist4ever/gen-4rt

https://deca.art/Antagonist4ever/4i-4rt

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