The Interview I Art Collector Zaphodok
In the shifting tides of both contemporary and digital art, one constant remains: the crucial influence of collectors. They are the architects of the ecosystem, molding and guiding its evolution with every acquisition. Their passion, foresight, and unwavering dedication don't just sustain artists—they actively propel the cultural trend. In a series of interviews, Kate Vass seeks to peel back the layers and get to the heart of what drives a new wave of collectors—their connections with artists and the deeper motivations behind their digital art collections.
In this discussion, we had the distinct pleasure of speaking with zaphodok, a passionate art collector who has been pushing the boundaries of art at the intersection of internet culture since the beginning. His collection, a treasure trove of generative and AI-driven works, offers a rare glimpse into the future of art.
We hope you find as much inspiration in this interview as we did in bringing it to you.
'Shower' by neurocolor, 2020
KV: Can you recall your first encounter with art and describe what motivated you to start collecting?
ZP: I'm afraid I cannot; the creative industries have been my natural habitat since a young age, and I am grateful to have been able to turn my innate passions into a career. The motivation to start collecting digital art specifically, stems from the fascination with the revolutionary underlying technology that allows us to do so in a native way.
KV: You began collecting digital art relatively early, starting in 2018. What inspired you to start collecting digital pieces?
ZP: The first non-fungible digital collectible I can think of was a documentation of one of my own analog works, minted on Bitcoin via Ascribe in mid-2015. Having been familiar with the concept of Colored Coins, I was drawn to Ascribe's innovative approach to authenticating creative works of any kind. It ultimately remained a one-time experiment.
Fast forward two years and a few months after going astray in the Cryptokitties craze, I dabbled into SuperRare. A publication platform and marketplace for digital art powered by Ethereum smart contracts with a simple and compelling value proposition for artists and collectors alike. Peer-to-peer trades between artist and collector, permissionless transfer of ownership, instant payments with magic internet money, and baked-in royalties on secondary sales, among other features were, an inspiring vision of a sustainable autonomous zone for art in the digital age.
‘AI Generated Nude Portrait #2’ by Robbie Barrat, 2018
KV: Do you have any formal education in technology, finance or art? Do you collect items other than digital art?
ZP:I am an architect, artist, and educator with over two decades of work experience. In 2020, I left my tenured academic position to prioritize family matters and my newfound passion for art on the blockchain. I do not collect items other than digital art except a few analog companion pieces, oddly labeled as “phygital”.
‘Learning Nature (b59b,8282,15)’ by David Young, 2019
KV: How did you acquire the very first piece in your collection, and what was this work?
ZP: It was on April 28th, 2018, at 4:50 PM UTC (had to look this up on the blockchain), that I was determined to buy a tokenized artwork on SuperRare. Browsing through the nearly one hundred highly diverse pieces available felt like taking a walk on the wild side. Eventually, I left-click-bought a digital painting entitled 'Ship' showing a tanker sinking or cruising in the desert, created by an anonymous internet artist. For a brief moment the surreal subject matter brought to mind 'Aircraft Carrier City in Landscape', a provocative project by Austrian architect Hans Hollein from the early 1960s. But I didn't bother with any further research or classification whatsoever; I was simply relieved that the wallet successfully processed the transaction and that the piece appeared in my wallet address on Etherscan. To be honest, even with a decent understanding of the underlying tech, the notion of spending 0.1 ETH (around $68 at the time) on a JPEG from the internet was quite intimidating.
Aircraft Carrier City in Landscape project, Exterior perspective by Hans Hollein , 1964, copyright @MoMA
KV: What defines your collecting style? Is there a common theme or element that unites your collection?
ZP: I embarked on this journey with an open mind, and no expectations, and allowed myself to be drawn into this new realm of digital collecting. When I approach artworks, I don’t typically experience a strong emotional response or get caught up in introspective contemplation. For the most part, I view them as critical, thought-provoking vessels of encoded knowledge, brought to life through the most radical form of human expression. As Florian Schneider, a former member of the electronic band Kraftwerk, remarked, "If I wasn't making music, I could just say it" highlighting the unique property of artistic practice to convey what ought to be said in a way that language alone cannot. I am currently exploring various thematic avenues, including medium nativity, EVM art, renitent systems, and historical digital art. However, I believe the unifying theme of my collection is the pursuit of art as a catalyst for creating new perceptual and conceptual categories in the digital age.
‘You Are Here 68719476735’ by 0xfff, 2024
KV: How do you see your role as a collector in the space and how did your collecting style evolve over the last 6-7 years?
ZP: As an advocate of cypherpunk values and ideals, I prefer to maintain a low public profile. If cypherpunks are touted to write code, then collecting art is my humble contribution to timestamp the associated ideals on the blockchain. I do not define myself by any specific role. Every now and then, people approach me and credit me with integrity and good instincts, which is more of a compliment than I could wish for.
Just as no man ever steps in the same river twice, collecting is a dynamic and iterative process. It’s a journey that demands curiosity and the courage to evolve and grow. As I encounter new artists, curators, and collectors, I find myself drawn to their unique perspectives and experiences. Throughout this ongoing journey, I strive to keep a balance between open-mindedness, experimentation, and a commitment to the core values of the Cryptoart movement.
KV: If you had to highlight one or two artists or an artwork from your collection, who would they be and why?
ZP: Rhea Myers’ “Is Art” (2014). A piece that represents the epitome of blockchain sculpture, a minimalist test install of Cryptoart, on the test fabric of Ethereum, anticipating the main properties of smart contracts and digital ownership on an open permissionless world computer. All of Rhea's works are, first and foremost, a delight for the synapses.
Anna Ridler’s “Bloemeveiling”(2019). There is nothing to be seen here, nothing to look at or listen to. A series of tokenized, tantalizing AI-generated tulips that wither and die the moment you gaze upon them is just a poor digest of the critical depth, the historical references, and the overall brilliant execution. A masterpiece that I was fortunate enough to witness at the time it took place.
(After watching the Tulip for one week, the smart contract automatically burned the token from the owner's wallet - Burn transaction)
KV: Could you share a memorable story from your collecting experience, perhaps a funny/sad story, or a near miss?
ZP: A memorable story happened during the 2018 Christie's Art+Tech Summit in London. After announcing it on Twitter some weeks prior and twice earlier on the day of the event, Jason Bailey informed the audience during the concluding panel that the gift cards containing the tokenized artworks by Robbie Barrat could be found in the giveaway bags at the entrance—one bag for each participant. As an admirer and early collector of Robbies’ work on SuperRare I looked around the room, but there was zero reaction from the audience. I got up, quietly left the conference room, grabbed my belongings, and hurried down the stairs. The bags were lined up on the counter, with no one else around. I politely asked the receptionist if I could possibly have four of them. She agreed with a smile. I quickly disposed of the unnecessary inserts in a nearby park and rushed back to my hotel room to redeem four frames of “AI Generated Nude Portrait #7” which later became the lore of “The Lost Robbies”.
It wasn't until weeks later, after the initial excitement had faded, that I realized I had claimed more pieces than I should have. To truly preserve the value of an artwork in a decentralized network, its stewardship must also be distributed—one bag, one participant, and one pair of shoulders. With this idealistic conviction, I set out to divest the excess pieces. I donated one to XCOPY's 2019 charity auction through his XERO Gallery and later sold two others for a modest sum to well-known collectors. However, the remaining piece is a permanent fixture in my collection, never to be parted with.
KV: Have you ever collaborated with artists or other collectors in the NFT space? Can you share a particularly meaningful experience?
ZP: Since 2019, I have been involved in various blockchain art projects, both as a member of multidisciplinary teams and as an advisor to curators and institutions. I've also commissioned several pieces from artists. However, I have yet to collaborate with fellow collectors in a way that feels truly meaningful and productive. I plan to prioritize this in the months and years ahead. Nevertheless, the most enduring experiences will always be those in-person occasions when people from the space come together and share a good time.
'@XCOPYART 2021-02-13 13:26:35', 2021
KV: Where do you see the future of the digital art market heading?
ZP: Industry reports indicate that, compared to the traditional art market dominated by analog art forms, media arts remain still niche and insular. How can one expect that the 2021 NFT hype would make any difference in this dynamic? However, the growing awareness of digital assets, demographics, efforts in financial and digital literacy, and innovations in showcasing technologies i.e. are likely to contribute to a broader acceptance of born-digital art forms. It is reasonable to expect the current active web3 user base to increase substantially over the next decade. The writing is on the wall of the Vienna Secession Building "To each age its art, to art its freedom", a reminder of the inevitable evolution of artistic expression alongside human progress.
'CENTS' by Rutherford Chang, 2024
KV: They suggest that the traditional art world's reluctance to embrace digital culture stems from the challenges of integrating digital aspects into everyday life. How do you exhibit your collection? Are there any pieces that are always on display in your home, and if so, how do you present them?
ZP: There is arguably a need for suitable display solutions for native digital art, to evolve beyond its tech-savvy niche status and appeal to a broader audience. The current state of the market, with start-ups experimenting with subpar technology, established screen providers lacking cultural understanding, and high-end products with short lifespans, fails to meet the needs of this space.
In my personal IRL environment, I use a couple of NFT art screens for curated playlists, along with some self-assembled devices for real-time screen-based works, complemented by a few prints and analog collectibles. However, the vast majority of pieces have not had the chance to adequately see the light of day in my home.
‘Tokens Equal Text 21’ by Rhea Myers, 2021
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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
zaphodok on X: @zaphodok
Website: https://zaphodok.art
Collection link: https://gallery.so/zaphodok