The Interview I Art Collector Coldie
In the latest edition of our ongoing interview series with art collectors, Kate Vass had the opportunity to speak with Coldie, an artist and a collector who has become an influential figure in the space. As both a creator and a collector, Coldie offers a unique perspective on the intersection of art, technology, and the crypto space. Over the years, he has amassed a collection that not only represents the early days of blockchain-based art but also reflects his personal evolution as a collector. Coldie has been involved with the scene since 2018, and his approach to collecting is driven by more than just financial gain—it’s about supporting fellow artists, nurturing the growth of digital art, and contributing to the broader cultural conversation within the crypto community.
In this conversation, Coldie shares insights into his philosophy on collecting, the artists and works that have shaped his journey, and the transformative role of blockchain technology in the art world.
We hope you enjoy the conversation and find inspiration in Coldie’s approach to both collecting and creating art.
KV: In the early days of blockchain art, did you feel like you were part of something revolutionary, a new model challenging the traditional art world? How did that sense of pioneering shape your approach to collecting?
C: I knew that what I was getting into was going to be important for digital artists. As an artist, I was minting my artworks that I had been showing at regional art galleries, but now I was able to share them globally 24/7.
Soon after minting my own art and seeing what the market was offering for works, I knew that my art was worth more than what I was selling it for, but that wasn’t up to me to decide what ‘market rate’ was at the time. With this thought, I realized that early collectors with a savvy eye were going to be the big winners. I began taking 30% of my art sales and reinvesting in digital art. I was only spending about $30 per piece, but looking at what I have collected in that period 2018-2020, I am quite proud of.
Larva Labs, CryptoPunk #7933, 2017
KV: Do you relate to the expression by Andy Warhol - "Being good in business is the most fascinating kind of art." Warhol saw business as a kind of art. Do you see this in crypto art, where art, value, and market overlap? How much does the business side shape your collecting?
C: I believe there are different reasons that each collector aligns with art. Some are gravitated to the image alone. Others are looking for a deep story. Others want to be part of a larger ecosystem or community. Others want to play games.
When I examine art that I am considering collecting, my first gut check is the “ok, so what?” test. Does this artwork strike me in a special way? Is there a message that I pull from it? Is it just a neat ‘3D bouncing ball’ or is there context and thought that adds to the artwork? Is this a business with the intent on maximum revenue generation, but lacking in artistic merit? What do I think this artist will be doing in 20 years? My time horizon for art collecting is multiple years, some pieces forever. Trying to figure out if I can 2x in a month is not the way I operate with collecting. If I wanted that, I would just shitcoin.
Osinachi, A Taxi Driver on a Sunday, 2020
KV: Can you tell us about your very first acquisition? How did you decide it was worth collecting? Was a support to your fellow artist or someone you came across for the first time and felt compelled to collect the work?
C: Pinpointing my VERY first token collected is easier said than done. I have looked back at my earliest SuperRare collected pieces and one that is in the ballpark “The unknowns 6.9” by artonymousartifakt. Collected on November 9, 2018.
It took me a few months to collect my first piece, but I remember instantly being interested in AI art, especially because it was so abstract but able to hold deep meaning. This piece in particular struck me because I felt like the top left person was Mark Twain, but at the same time, it could be anyone. Each character “could be” a certain person from history, but that is also the point of it, to me, was that these general portraits are in fact any number of people throughout history. That self-created narrative is what drove my purchase.
Artonymousartifakt, The unknowns 6.9, 2018
KV: How has your collecting philosophy evolved since you began? Have certain experiences or trends influenced the way you approach collecting now?
C: When collecting an artwork, especially a 1/1, it needs to have the ‘it’ factor. That factor can be from any and all styles of art. I have surprised myself when I am struck by an artwork I never would have expected to collect.
With so many options of art to collect, it is impossible to buy it all as I am an artist and not running a hedge fund. The discerning eye is my secret weapon that has pulled my interest in areas that were not where ‘the herd’ was collecting at the time. I was very interested in AI art. Got a bunch of really great pieces. I was into metaverse wearables. Got some legendary pieces. Early ArtBlocks was magical and I snagged some amazing pieces.
My tastes are always evolving. AI art is everywhere, so for an AI piece to have ‘it’ there needs to be narrative and meaning that pushes it above the rest.
MaxOsiris, Right Click Save as "Right-Click-Save-As-Space-Lasagna-Guy.gif”, 2023
KV: Your “Decentral Eyes” series features key figures from the crypto world. What draws you to these individuals, and how do you decide who to represent in the series? Are there specific qualities or contributions you look for when choosing subjects?
C: Decentral Eyes was born out of the goal to contextualize the faces that were shaping the crypto space in real time. I wanted each portrait to be a timely reference to where and what was going on at the time. I have a stance that each person featured ‘raises their own hand’ by doing something noteworthy that is historically relevant to the progress of the space. Vitalik made perfect sense to be the first featured because his technology was powering the very token the art is minted on. Others like Warren Buffett whose statements against crypto were just as crucial at the time. I enjoy taking Warren Buffett’s negative stance and using their wide recognition to start a conversation with those not aware of what crypto is about. This series is meant to be educational and historical by nature so that in 10 years when we look back, we have a visual scrapbook of these influential people. There have also been A LOT of people I chose not to include in the series because I also feel that doing a portrait of someone personifies that energy into the universal consciousness and I do not want to give them that power.
Coldie, DEyes #083, 2021
KV: How important is the artist's story, process, or connection to the crypto space in your decision to collect a work?
C: It is very important. In a space full of grifting and artists who disappear except for when the market gets hot, having a deeper connneciton to the overal digital art space is important not only for those I support, but also for the investment of what I hope they do over the span of their artistic career.
XCOPY, No Favour (cold), 2019
KV: The early space has seen explosive growth—are there artists or artworks you feel are often overlooked or misunderstood? And why? if you can give an example of any now?
C: Explosive growth has a way of pushing a select few to the top, while most are buried in the noise. The jury is still out on a lot of art I have purchased between 2021-now. Many of the artists and projects are early in their journey. I will keep watching for these artists to grow and evolve. Art is a forever journey. Putting in the time and creating art and being experimental to grow is a key distinguishing factor to pieces I collect. I love seeing artists take risks outside of what they are expected to create. Through this process there is huge growth.
Helena Sarin, an eternal tangle of what ifs, 2018
KV: What were the early days of blockchain art collecting like? Any particularly unforgettable moments or surprise stories?
C: The early days were a lot more holistic. Collectors had an understanding back then to allow others to get pieces and not hoard them for themselves. It was smart because it created a larger varied collector base. One of the most heartwarming experiences was when Tokenangels and I were in a bidding war for a Robbie Barrat AI Generated Nude as part of a charity art auction by XCopy. TA obviously had a lot more money than me to bid. I had saved up 6 months worth of sales and went all in. After a manual bidding war held by XCopy, I placed a bid at the exact moment that XCopy and TA thought was final and TA would win. When he clicked the button intending for TA to win, my bid slid in, and was awarded the art. I had a call with TA and told him that I was a man and would forfeit the token to him. He told me that he was willing to have bid a lot more for the piece, but also he was OK with me winning the piece as he held another in his collection. I will never forget that kind gesture.
This is a screenshot that was taken of me while gazing at the Robbie that I would later win. These metaverse memories are just as real as real life.
Screenshot of Robbie Barrat, AI Generated Nude Portrait #7 Frame #153, 2018 in the metaverse
KV: Are there artworks you own that have become especially meaningful or valuable over time, both personally and in terms of market significance?
C: One of my favorite series that I minted was Matt Kane’s Gazers. I have always been a huge supporter of Matt’s creativity and minted based on what I know about him as a very thoughtful artist, not fully understanding the depth of the series until later. The RNG gods were on my side when I minted (Gazer #812) and turns out to be one of the Gazers that is often spoken about as one of the most sought-after.
Matt Kane, Gazers #812, 2021
KV: What do you think the future holds for blockchain-based art? Where do you see this movement in five or ten years for you as collector and artist?
C: In time the world will more and more be turned into a society that inherently values and holds assets that are digital. I believe this will start with a broad understanding of Bitcoin’s value proposition and will extend into rare digital assets including art. While not every art piece will be deemed ‘valuable’ there are artists who have been minting over the past 10+ years as well as art being minted moving forward that will capture the collecting communities psyche as being truely rare and value will be derived from that. There are thesis that today will grow in understanding as well as many that will prove to not stand the test of time. In the end, it is the collective demand for rare assets that will drive price discovery.
It is equally interesting to watch those who have deep conviction for artworks and artists and how this plays out over time. I believe all art has different horizons of realization and it’s fascinating to see how time affects the demand for artworks and when each collector decides to make artworks available for purchase.
Beeple, BULL RUN #105/271, 2020
KV: Do you believe that digital art can only stay digital, or how do you display works from your collection at home? (any artifacts, prints or else)
C: Digital art is digital by nature. I think there are ways to collect digital pieces in physical form if the artist created a physical version that is signed/numbered. I have some physical counterparts that I love, including my “Baby Maker” Ringer #997 print I purchased from Dmitri Cherniak.
Over the years I have come up on some amazing artifacts from my journey. Many of them are physical pieces that were gifts from artists and I love displaying them around my studio and at home. They mean so much to me as they are relics of a time and place that I was directly connected to.
I also have several digital screens that I have the cycle artworks at home. Its wonderful when a cool piece pops us and my family asks more about it. That is what its about. So much more rewarding than doom scrolling my wallet. That is not how art is supposed to be experienced.
Dmitri Cherniak, Ringers #997, 2021
KV: How do you see the role of DAOs or community initiatives in the future of digital art collecting?
C: I believe community is the lifeblood of all cultural movements. There are any number of ways to harness this collective energy. I have seen some beautiful initiatives happen in my own community by collectors who have ideas and get excited to take my artworks and get them out into the larger world around us.
As a collector, I appreciate the ability to have a direct contact with artists. Often times its just cool to say “what’s up” in a group chat and to tell them how their art affects me. Paying it forward is a highly under utilized energy in society and I have seen first hand how a kind gesture or words of encouragement can really help someone. Sometimes it hits so hard for reasons unknown and it propels them to break through to their next big idea. That is what we can do for those around us, whether it is here in the crypto art community, or in our daily lives with people we interact with.
Espen Kluge, cruise ships and police cars, 2019
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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
Coldie on X: @Coldie
Coldie’s collection link: https://opensea.io/Coldie and https://opensea.io/ColdieVault