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VAULT3D: Chris Hytha - Redefining Urban Landscapes, Authenticity in Art, and the Pursuit of Passion in the Blockchain Era
Embark on a journey with the masterful Chris Hytha, Philadelphia's trailblazing designer and visual artist, whose Roe Homes collection took the Web3 world by storm. Sit back as we wander through Chris's vision, where the ordinary becomes extraordinary and the city's unseen nooks become a canvas for storytelling. This episode peels back the layers of urban landscapes, revealing the magic of rooftops and the allure of abandoned industrial terrains.
Together with Chris, we confront the concept of authenticity in both artistry and existence, navigating the fine line between crafting for personal fulfillment and societal approval. We dissect the evolution of Chris's photographic endeavors, from his acclaimed Super Rare collection to his ambitious project capturing high rises across America. This episode is a mosaic of candid perspectives on the artistic process—how a singular viewpoint imbues meaning into art, the ethical nuances of compositing, and the journey towards a signature visual language amidst the crowded NFT space.
Finally, we tackle the profound essence of life's purpose and the pursuit of meaning beyond material desires. Chris shares his childhood aspirations and reflects on the significance of chasing what genuinely ignites one's passion, contrasting the empty race for status with the richness of living with intent. Tune in for a thought-provoking conversation that not only spotlights the architectural beauty of American cities but also offers a mirror to our own search for authenticity and the courage to follow our deepest passions.
Chris links:
Linktree: https://www.hythacg.com/links
Website: https://www.hythacg.com/
X (Twitter): https://x.com/Hythacg
Instagram: https://www.instagram.com/hytha.cg
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GM, this is Boone and you're listening to Vaulted, a Web3 podcast series from the Schiller Archives. This episode was originally recorded on October 3, 2022 and features Chris Hytha, a designer and visual artist based in the city of Philadelphia, who found rise within the Web3 community through his beautiful Roe Homes collection. In this episode, we discuss his visual language of urban exaggeration, obsession with architecture, learning, authenticity in large bodies of work and much more. As always, this podcast is for entertainment purposes only and should not be relied upon for financial advice. Boone and guests may own NFTs discussed. Now grab some coffee and let's dive into this conversation with Chris GM. Chris, how are you, man? Gm, gm, good to meet you. You too, dude. This has been. I think I didn't tell you this offline, but I think where you and me really connected was with the episode I had with Chikai. It's cool to finally have this together and get to know a little bit about you and your story.
Speaker 2:That's wonderful. Yeah, in Chikai I also owe the Google Earth thing. I'd say, yeah, it just blows my mind because really, the more my style and what I'm working on now develops, the more time I am in Google Earth and particularly the 3D environment. The fact that they have nearly every city in the United States 3D modeled in this virtual world freaking blows my mind. I don't know why more people aren't excited about this. I feel like virtual tourism isn't a thing we really hear yet. But when Venice is photo scanned at this absurd accuracy and incredible photo textures, and once the tech gets good enough that it could scan without light, and then you have a video game engine render in light, and then it's like why spend so much money traveling abroad? Like doing a study abroad for architecture. You're there to see the buildings. Now you don't need to fly there and it becomes so accessible and you can recreate certain pieces of architecture.
Speaker 2:Long story short blows my mind. It's a huge part of my process as a photographer.
Speaker 1:I'll be honest with you, man, I haven't looked at, because I think Google Earth came out when I was in high school. I'm 30, so it came out about 15 years ago, maybe a little less. I didn't have a use case for it, I just thought it was really cool. I remember being super enamored by it. I'm like how is this possible? It was probably not even close to what it is today. I'll probably, low key, actually go fuck around with that after we get off, because I'm certain 12 years they made some massive improvements to it.
Speaker 2:Yeah, it's crazy For me. I just graduated architecture school and my biggest fascination is the built environment, like what humans have done, what have we constructed? How does the world work? These big questions, big fascinations. I've always been fascinated with this, but it started at. I started a corporate job in architecture during school for three years. Every once in a while, what I didn't have work to do, which it wasn't super frequent, but whenever I had a free minute I would hop on Google Earth and just look around. I started to learn about cities and I'd find a city like Philly or any other city and then follow the river and up the river you find all the big power plants and the utilities and the oil refineries and the giant domes that they keep the natural gas in and all the water treatment. It's just the backbone of America that is making this city possible that no one really sees, no one really cares about. If anything, people are turned off by industrial areas because they're not pretty. So there's just yeah, I'm just deep down the rabbit hole of that hole.
Speaker 1:When I was looking at your work I was curious. I'm like when did you find that rabbit hole? When did you become excited about that?
Speaker 2:Yeah, I guess, as long as I can. Like many kids played with Legos and just got really into creating my own things, more so than just building the pre-built sets. Then I got into Minecraft, which for a while I was kind of embarrassed because it's like, well, I'm playing this kind of silly kids game I mean, I was in high school and so on and so forth. But then later down the road I realized I'm using it just as a 3D modeling program. I just built museums and towns and castles and houses and all kinds of stuff from my imagination and the fact that it's a game kind of doesn't really matter at all, like the medium, and I wish that I was learning an architectural 3D modeling program back then, because I think that would have changed my life. But soon enough I found architecture and learned the more professional ways to 3D model things and to explore the built environment.
Speaker 1:But I think it's cool. Though it starts off with, it's something fun. You could argue the fact that if you would have started off with learning an architecture program, you may not have been as motivated to learn it more. But because I'll tell you, I learned anything through something that's really fun, Like I didn't even I didn't give two shits about crypto or NFTs or anything till I found something that meant a lot to me, that was really fun and exciting, that wanted to like make me good on the rabbit hole. So I think, as a gamer myself, like you know, video games play a really important role and when I was podcasting in esports, like that was like one of the main goals to show that like video game, I was trying to destroy the narrative like video games are just for a bunch of like nerds in their mom's basement and like you don't really do anything with it.
Speaker 2:Yeah, I think it's super interesting to break that stereotype, cause I like that was that and yeah, I mean it's still present. Like I feel like parents in you know, the baby boomer generation really hated that and partially partially, I agree Like I was just playing a modern warfare two yesterday for the first time in 10 years and in high school I love that thing and there was a point where my parents had to cut me off cause I would get home from sixth grade and just like just shoot people online. It's like I don't, so I like that probably wasn't super productive, Right, maybe it increased my hand-eye coordination, if anything. If you approach it right, especially now when I'm replaying it, I'm looking through the lens of game designers.
Speaker 2:I'm thinking about the people that built these levels and I'm thinking about how they designed them to make it interesting and engaging warfare and having places to find shelter, and so it kind of depends on the lens you're looking at. Like it's totally okay if it's for relaxation, it's not discrediting if you're not building a skill. But then there's this whole side of incredible potential to like build real world skills and launch off a kid's career, which I think happened to me for sure.
Speaker 1:Yeah, I mean, and it also you're right, I think it's, it's, it's, it's you're yeah, you're absolutely right. Instead of, like limiting time on that, maybe ask questions to your kid about, like, what if you learned how to do this, or what if you thought about this in this way, or like not even telling them what to do, but just asking them a question you know, like of like, have you thought of this in this way before? And it's because I think, to your right, it depends on the lens and there's so much unlock there and we can do it for pleasure and we can also do it to learn at the same time.
Speaker 2:Yeah, that that makes me think back to what we were talking earlier a little bit. Uh, all fair to, of the path of least resistance. I think it's really, like it's being true to yourself, a little bit Like the. You know, when I was at my corporate job, there were definitely days where I would be distracting myself However I could. I get my third cup of coffee.
Speaker 2:I just did not want to do what they were making me do, and there's a level that's healthy to. You know, be a, have strong character and push through and do work that needs to be done. But I think that there is also like a big power in listening to that, like inner drive and the thing it's. There's a great book called flow, um, that talks about this, like the, the things that make you forget to eat and forget to sleep, and you end up, you know, it's like three AM and I'm researching how power plants work, what, what like, and that's like an energy that I don't think any person who's just kind of forced to clock in and clock out is going to achieve. Um, so I think it's like an opportunity to make something cool, or make something that wouldn't happen without me and this weird obsession, you know.
Speaker 1:That's right, dude, and I'll tell you this this like when I came into this industry, this is the first time where I felt that, you know, like it. You know cause I I do, like I have my morning routine and like I do. I, like you know, I get up, I do some meditation, I do some little writing, I have a cup of coffee, I you know, and then at the end of the day, I do that, I review my day and do all these things, but it's like this is the first like activity that just completely negated all of that. Right, Like I just I just blew right past all of it and I just I was so dialed in getting such little sleep, you know, especially when I first found this place, Like I, just I was, literally I was living off of coffee and clubhouse. So I love that.
Speaker 1:Like you, just it, whatever that thing is, whatever whatever the thing is it like keeps you up at like 3am or like you just can't stop obsessing about that. You find every way to talk it. Talk about it in a conversation. I mean, that to me is like a glaring answer.
Speaker 2:Yeah, and I think you can approach it from a lot of different directions. Like it's like this weird, like internal flame, that's just like igniting your curiosity and that could be damaging. Like if I'm just like a weird hermit, like obsessing over Google Maps, power plants and keeping to myself and coming up with conspiracy theories or something. That's not the way I want to take this obsession Right.
Speaker 1:Right.
Speaker 2:I've developed a skill from architecture school and the skills as a photographer and all of these skill sets that that are like my I don't I don't know a good analogy but from the flame right to translating that into something productive or something cool, like, like art or like my unique perspective. So it's a lot of pieces have to align, like I don't think just having that obsession or that curiosity or that fling is enough.
Speaker 1:Yeah, no, I couldn't agree more. So something that you mentioned there, like as you, you document in a really unique way that I hadn't seen before, and so what I want to ask, like what came first, was it, were you taking photographs before you just became obsessed with, like architecture and how things work?
Speaker 2:So, interestingly, I'm kind of now like going back to how I started photography. I started doing urbex, urban exploring. I was, like you know, a freshman in college and and I mean I'm fascinated with the built environment. I moved from like a small town outside of the city into Philadelphia for school. So I was in this new environment that was so rich with history and curiosity and I, you know, I started noticing like these massive abandoned manufacturing facilities that were old, like automotive plants or tire factories, whatever, like Philadelphia used to be the workshop of the world, is exporting all of this industry and then deindustrialization, all these factories closed down. So that was kind of the first kind of nugget of inspiration of like this obsession with the built environment and looking at these weird buildings and the legacy that they're leaving behind.
Speaker 2:So my friends and I would go out and we'd try to get into them and get on the roof and see the city and then got into getting on rooftops in the city too, just because I was like fascinated with these giant skyscrapers and what's at the top of them, like these areas where you couldn't really have offices or you know what's inside of a building spire, or how does has the mechanical room work, what? How do they wash the windows, like? I got really interested in the big I love that the cranes like on on the tops of these buildings.
Speaker 2:They have like rail tracks and a crane that like moves around and extends and so like all that back end stuff is just really fascinating to me, and then plus, like the views from the top of a building that no one really ever gets to see. So yeah, I haven't really thought about it in this way, but that fascination with the built environment, with buildings and with how the world works is what got me into photography as well.
Speaker 1:That's cool, man. Yeah, I was curious because, like I mean the way, yeah, the way you, like I because what you were just talking about I would never the view is like the only thing that I would think is like really fascinating about that. But, like you know, here you are talking about, like here's spots where you can't really put an office of, like what's the purpose of that or why is this here? Like you know, like I would have never thought about those things to capture. So I think it's fascinating that, like you know, outside of the view there's a lot more to it than just, you know, becoming Spider-Man and looking at a pretty view, which is great, like it's. It provides a perspective that not many people get to have.
Speaker 2:Yeah, yeah. Well, unfortunately I didn't. When I started I didn't have the ability to like think about a narrative or like my process in photography has kind of been learning to, to address what is interesting to me, like I knew that there was something about these rooftop so it was really cool, but I didn't have like the vision to start documenting these like cranes inside of the mechanical rooms.
Speaker 2:I just knew I loved it up there, I loved the height, I love the view, I loved just like the excitement and the space. So if I were to revisit that like I might focus in more on like window washing equipment like something really obscure Because you know, there's so many photographers, there's so many people making work. How do you make work that hasn't been done or that adds value or whatever? To me, I think really niching down and like making these, these projects that like no one would ever make, is a good opportunity.
Speaker 1:Yeah, I mean I would have never like any. That's what I've noticed that the ones that some of the some of the pictures that stick out to me the most are like things that challenge, challenge me in a way where I would have never, I would have never thought of before, like I would have never been so curious about window washing equipment. So it's like there was like an image of that. Like it's like why did this person take a picture of that? Like what is the fascination with that? Because that's not something you typically see in a photograph we're not like.
Speaker 1:To be honest, like at least my timeline, I'm really spoiled with just seeing. It's just a, it's just an art gallery, right. Like it's just like I just scroll through and see just tons of amazing work and that's not. Something is sometimes it's like the simpler things that always catch my eye, like there's just so much breathtaking work, because sometimes it like I'm like you know what, let's just keep it as simple as possible and like what is it? What is that so fascinating about this object or this person, or the way they're standing, or whatever the case may be? So I love that dude Like I. Is that going to be part of the next. Have you thought about doing that in a collection of just taking pictures of like random, obscure, like parts of these buildings?
Speaker 2:Oh, yeah, I, yeah, I have a sketchbook for which I think you saw the tree earlier, some of the sketches. Yeah, I, I love that as part of the process to document random ideas. And there's, you know, there's plenty of stuff.
Speaker 1:I mean.
Speaker 2:I've been doing an ongoing exploration of like traffic lights and stop lights, dude and yeah, so I noticed that I noticed it with your Super Rare collection.
Speaker 1:Like I know that, like that's, like that was one of the things that I noticed that was so different. Like as I've seen row homes, I've seen you know your, your High Rises project and then, like, when I looked on Super Rare, I'm like that is, it's completely different. You know what is your obsession with street lights?
Speaker 2:I mean the same same idea and I mean I was thinking earlier too about the idea of like going against the herd a little bit and I've always been really averse to like lines and just like when you feel like you're just like being shuffled through something. At a bad experience at Eastern State in Philly, the haunted house where I just felt like this, like I, it was just like a line of people and experiencing this thing, I hated it. So the idea that everyone in the country is going out to look at the beautiful mountains national parks are, you know, jam packed and nature like nature photographers it's like obvious, like okay, cool. Like we all love mountains I love that. But no one is going out to West Virginia to photograph the like James Amos power plant that has these. So it's I don't know there's and it's not that like just doing something because no one else is doing it.
Speaker 2:I don't think that inherently has value, because obviously there's a reason why everyone's going to the mountains and not the power plant, because we agree it is a culture that power plants aren't something that you visit, right? That's weird to do and it's like uncommon. So I, yeah, I like going against the grain in that sense, with the the polls. It's like it kind of happened because at first I was really bothered by all these distractions, by all these stupid wires and all these polls that are like getting in the way of my beautiful city skates. But then I was like but what did we turn the camera on the polls for a minute and see what happened? And it's kind of like every image is trying to figure out what the fascination is Like. I couldn't tell you why I'm so fascinated with traffic lights. I'm, you know, I'm constantly unpacking it.
Speaker 1:Yeah.
Speaker 2:And every image that I create based on it helps me figure out what I'm looking for. So, like part of the exploration was putting traffic lights out in the desert, because traffic lights are these purely utilitarian forms. The only reason they exist is to tell car to go or to not go, or tell you if you could park there or not park there. They're just communicating all this information and it's kind of like a funny joke to me in my weird mind, to take it out of context and then have this silly like, like the form of it, even the poll, and then the long stretch, the reason that that's there is so cars can pass underneath. So it's like super funny to me to take away the road, to take away the parking spots. It's just in the desert yelling all of this information to no one, for nothing, for no reason. So that's the reason I'm into the power lines and traffic lights.
Speaker 1:I like that. I would have never like that was. I would have never guessed that. So that's awesome man. And I remember the one that sold where it was like I think it was like you know, mixed signals or something like that. The one I know, something like that one stuck out to me the most. I'm like, holy shit, like that to me was more obvious, but that's one of the most powerful images I've ever seen and like it speaks a lot of like. It speaks to a lot of like what we're told in life and where we're, how we're molded and what we do and how we make our decisions. I'm like there is so much to unpack in that picture. It was, it was. I've looked at that for quite some time.
Speaker 2:Yeah, I'm glad you brought it up. That's. That's my highest sale too. I think well, secondary sale at Roe Homes have been higher, but primary and that one is kind of another angle of my exploration of like I called urban exaggeration and I've made some images here and there and it might filter into this power plant project too. Yeah, because it's it's taking a different lens on the, the fascination. So I really love these power plants, or I really love these traffic lights.
Speaker 2:What if you just crank it up to 11? Like, what? Like this is what traffic lights are. We all know them. But what if you put on twice as many signs? What if you like the traffic? Like, instead of three lights, it's just like a skyscraper of all these little lights and each one tells you to eat a sandwich or to stop your car or to wake up and get out of bed, like, yes, exploring, exploring signage in that way, and then also like conflicting signs are going to mean it's like a visual joke If it says like one way, both ways, and then it says like no, turn on red, but another thing says you can, right, there's just something comical about, about that kind of scene, you know.
Speaker 1:Yeah, when you, when you, when you mentioned that, it made me laugh like urban exaggeration, you know, like that, that that that spoke to me. So, no, I like that, like this has been like a big joke or like a way of exploring that, because to me it was like the, the transition from kind of like breaking the mold of, like what you're supposed to do and like how you're supposed to do it and like what carving your own path means and like, you know, on and on the flip side of like the mental process, of like getting through that, you know, because it we there's somewhere along the lines that, like we've been conditioned for so long, like we start off with as being as a kid, is like these super curious, like people that just little little people that like ask a million questions, you know, and they're just infinitely curious is the word I'm looking for, you know. But somewhere along the line and I don't think there's like a there's a moment in time or anything like that, but like, as we get older, we get so conditioned to like not ask questions, you know, and to not explore that. And so I think for me, just if I've like, so like talking about how that relates to me is that, like when I finally first had the moment, like had the idea to follow that path of least resistance.
Speaker 1:Is that now, even though it made sense, there was like so much conflicting information in my head about, like what I needed to do versus what my family said I should do, versus what, you know, my boss said I should do versus what my best friend did, or like how they went about doing that? So, like, to me it just shows the pure chaos. At least what it means to me is like the pure chaos of, like my own mind and thought process, as I'm like trying to like walk through this, even though I know in my soul that it's the right way to go. Like the mind is just man, like depending on what side of the bed it wakes up on. Like you know, it's either full send or you like absolutely suck at this and should go back to what you're doing, you know.
Speaker 2:Yeah Well, and I think that's the best part about art to that everyone brings. You know, the experience of art isn't just the art in a vacuum, it's, it's the piece itself, and then, what each person brings to it that brings it meaning and brings it richness. And, yeah, the exaggerated signs, it is like almost anxiety.
Speaker 1:Yeah, it really is man.
Speaker 2:And I like to that. The urban exaggeration concept is something that it's like the root of the idea, it's like the thesis, it's the in architecture we talk about party diagrams. It's the root that can be elaborated into everything about a building in architecture's case, or for an art project, photography project. There are all these different offshoots of that exploration. Yeah, like I made one image with trash and I could continue to do that where it's like we all have seen the piles of trash on a Manhattan sidewalk or something.
Speaker 2:But I just wanted to order it's like sky, sky high, and in the image I made I had like a lady holding a little Chinese woman a photograph from Chinatown and Philly who has a bag, she's taken out the trash, and then this massive stack of trash and like a ladder going up there, so that the image makes you think about this lady trying to throw this bag up to the top or to crawl up it and like, yeah, I like, I like visual comedy and I'm that's something I'm always trying to incorporate more into my work like, I think, row homes I wouldn't call it like, I wouldn't call it the same like visual comedy, but there's a playfulness to row home for sure, and I try to make a playfulness with with anything I make, because it's like hearted and it's fun and I want to have fun making it. I want to make images that make me smile or make me curious.
Speaker 1:You know that's been the over like. The underlying theme of like, every like, every person I've talked to is that like you create you start like it's you're not really creating art for anyone else is like you're creating art to like, satisfy your own personal like, whether it's whether whether you need to laugh or whether you need to like explore something, or like it's it's art for you. You know, and other people just so happen to like it's. It's what I do with this podcast. The guy has questions purely from my own self interest and then just so happens that other people like to listen to those questions, you know yeah, yeah, that's the best case.
Speaker 2:It is.
Speaker 1:Yeah, because I spent my entire life.
Speaker 1:I remember I had this moment it was early in my professional career where I remember asking the same question.
Speaker 1:I was looking to like make a decision, and I asked four different people and I got four different answers and I'm like, what the fuck is the right answer? Right, like I like, and they're all people I looked up to, like I don't seek advice from people I don't look up to, you know. So it's like they're all people I respected for a lot of different reasons and I'm like I remember having that paralyzing thought and it was wasn't until years later that I finally just like, like finally discovered that none of that really mattered. You know that like, none of that really like I was just creating I was trying to make a decision to appease them because I didn't know I didn't, I hadn't found, like that, that part of me, I hadn't really discovered who I was. I didn't know that cliche of like you know, just be yourself like I. That, to me, is one of the things that pisses me off the most, because people make it sound so nonchalant, but like that's a really long journey to get to that point.
Speaker 2:Yeah, I mean there is definitely like a huge confidence part of it where a lot of people, I would imagine, like discredit themselves and especially like I feel like there's such a strong natural instincts to conform.
Speaker 2:Yeah, I like thinking about I don't know the name of this theory or where it came from or if it's true, but I think it's interesting the idea that humans evolved in tribes right of around 150 people, their communities, and whenever you were an outsider, if you went against community values, if you were weird and unconventional and unconforming, you had a chance that you're going to be kicked out of the tribe and you're going to die getting eaten by wolves or something. Yeah, I think it makes sense that we're, we're built and society can't function without a level of conformity, right? If everyone were so out there, it wouldn't really work as we would be so disconnected, right? So all that to say, it's really hard to fight that instinct and it's really hard to do something different and it takes a lot of power. But I think that a lot of great artists are great because they learn how to follow that and they learn how to break rules in a really meaningful and intentional way.
Speaker 1:Yeah, but also, at the same time, conforming to a part of society that is genuinely helpful, right Like. It's like there's a certain level of conformity that, like you know, you could argue that going against the grain is also helping challenge some other people's thoughts, regardless of whether they're following the same path or not. But it's just like. I think part of that is also just understanding who you are and what you want to do. If you just want to like find some comfort in doing a hobby for the rest of your life, but you still want to play softball on Sundays, if you still like, want to like be super like if you clock out at five, that's it. You can do that, you know, and you can find so much joy and so much happiness in doing that. The whole goal is to be happy, not to like have this hustle culture and can make everyone convert to something that they're not really even, they really don't even want to do. You know they're just doing it, just to Follow that herd, if you will. You know what I mean.
Speaker 2:Yeah, I've had that conversation a lot yeah with with my sister. She is a great musician and an incredible vocalist. Like she's been singing her whole life and and like there's Partially, my parents feel like if she really applied herself and and push to that next level, like she could be like a crazy pop star Like you know, make music that everyone listens to and then talking to her, she has no interest in that but she doesn't want fame, like that wouldn't make her happy and she is content and happy Living her life the way she lives it. Yeah, it's really. I mean that goes back to to like looking in on yourself and Understanding your drive and your intentions and what you really want in this life, because a lot of people might fall into that, because it's just the generic what people want to be rich and famous.
Speaker 2:Mm-hmm and then they do it and then they realize that they're still empty and they're like crap. Yeah, so yeah, I love Reaffirming the life choices of people that want to live a good life and spend time with their kids. Like you don't. You don't need to like, do something crazy innovative To leave a mark on this world and to just enjoy yourself and live a happy life.
Speaker 1:Exactly exactly. And I remember thinking why, when I was first kind of like, and it's, and it's weird, because in order to Discover that you kind of have to, in order to truly know if that's what you want, you kind of have to like, do take a couple of steps that we've taken and just to try to do something completely different against the grain or like. You know, because I've met you, my mom, my parents always Maybe try things a bunch of different times before I said I didn't like it. You know, especially when it came to food, you're like you're not gonna say you don't like potatoes Unless you tried every type of potato. You know to say then you can say you have it, then you can say you don't like it, right, but you're not gonna try. You're not just gonna say you don't like it or it's not for you, without trying it. You know so that that that was actually a big part of like my you know of, of like me making my decisions.
Speaker 1:But you know, part of that, I think, is people trying that and fucking up and then realizing that like if you're not willing to move past the, the skin, me, or the scraped elbow or whatever the case may be then and it's just not for you and and I think that there's so much pressure to Do something different and to create your own like, to to be your own boss and to do all this other stuff.
Speaker 1:It's like this, this anti-work culture of like being Europe, that sometimes people forget the simplicity of like. Maybe I just don't want to do that and I'm gonna draw it back to this, the space, like with a web 3 and a tease like. I see people Come in here for the gold rush, you know, or they come in here because it's super exciting, or they think they can make a quick buck, but they have no conviction in either the art or the technology or the tools that we're building, or the community or the culture or anything that's happening here. There's no interest but their own and it. I see people come in and they try to make a quick buck and they burn out, you know, and they and it's, I think, just some people. But yet, at the same time, instagram and all these other places are just Bombarding people with NFTs, and so people feel this like need to get in here without actually understanding what the fuck it is that we're actually doing here, you know what I mean?
Speaker 2:Yeah, definitely it's. It's been really interesting. I mean we talked about the summer being crazy and then to see a, a lot of artists to just kind of get sick of it and just realize that it's not for them, and I think that's fine, yeah. But like, personally, I saw the potential to Like create an art career, like I realized that having people that collect your work and believe in you as an artist, that's not just like that. They get this NFT and they can look at it and it's like what does that even mean? It's also that they're they're funding me to now be able to travel and make my next project and to To live life as an artist. And if I have enough people that believe in that and enough people that see what I'm doing and they want to see it come to fruition, then that means that I can live a life that I really enjoy, just chasing my curiosity and my passion. And I don't know if it'll work.
Speaker 2:You know I'm figuring it out and I was really fortunate with the Roe Holmes project to create like a fund for myself, almost like I I'm not a very materialistic person, I don't. I've never owned a car in my life. I bike everywhere or take trains. I live with four other people, yeah, so when I made some money on art, I didn't spend any of it for like a hot sec. I thought about whatever, an apartment, what am I really have my own bathroom? Oh, that'd be like.
Speaker 2:And I kind of push my side because it, because it the money is just to reinvest in art. It's like, yeah, this is my opportunity. This now sets me up to be able to focus on art for a year or two, even, and even if, like I also am really intentional and and critical of myself to know that it's not always gonna be great. Yeah, I might go through a spell of a year or two or three or five years where I don't like what I'm making or that I'm not happy, that something like.
Speaker 2:I understand that, but I See the value of pushing through it. But I think having I mean, yeah, I'm just super fortunate to the collectors of the projects I've created that now I have this like great safety net, this cushion where I can like right now this project I don't know if it'll make any money I'm leaving tomorrow to drive out to Cleveland, columbus, cincinnati, the, a power plant in Cheswick and some other places and it's costing me like probably at least a thousand dollars for this trip. I'd never be able to do that without NFTs, so that's why I'm I mean, I have the privilege to still be here because I was successful early.
Speaker 1:Yeah, you know but somebody know something, that something I want to tie back to original conversation, though, where you know it's I think it's again, it's, it's, it's, it's been very lost that you know in when you, when you're working like a regular job or a corporate job or the case may be, that skillset that you learn of, like learning how to learning, know when to push through something, but also honoring your curiosity at the same time, and like, yeah, I've there's, there's been every role that I've had, there's been something that I've taken from that that's been able to make me better at what I do here, and there's been things that I've done here that I can take over there to improve my skillset even more. And it becomes the Circle to where, eventually, you know I can create that circle in other ways. But that is a huge, you know, it's a huge lesson that, like again, I think that's lost on so many people.
Speaker 2:Yeah, I think, I think, like cross pollination is a term.
Speaker 2:I think about a lot like like taking something you learned in one job and Then applying that skill in a unique way in another field yeah, where they don't think like that because they didn't come from that job.
Speaker 2:I think that's like one of the most valuable things ever, and I often think about how my time working in architecture has set me up for success as a photographer. Like I feel like going to photo school wouldn't have done me any justice, because it's only because of this cross pollination Right that it becomes interesting. And it's one of the questions I always ask artists that I talk to and get to meet is is like what? What do you bring to your art outside of your art? Like what's happening in your life, like if you're a doctor, how does that filter in? How did that inform? Like maybe it's not obvious, but it you are you and and all of the experiences you've had? So it must work its way in. And I think that's when really really interesting things get made is when you bring a thought from one discipline and and apply it in another In a unique way.
Speaker 1:Yeah, super important. I'm gonna. I'm gonna leave it that because I think you made a good point. I think I'll muddy it if I, if I, if I speak any further on it. So you know when I want to go back to you know, one of your like, when you're like your first collection row homes you know like, so Like that was your first collection and then I believe high rises was. Is that, was that one recent or was that because I know you released like more of them? Is that like kind of like a continuation or was that kind of like right after row homes?
Speaker 2:Yeah, high rises is ongoing. Okay, so the goal there is to document buildings across the entire country. Okay, so I just finished. The northeast.
Speaker 2:Yeah and then you know we have the West, midwest and the South, so that that's ongoing. Who knows how long it'll take to get all the way around the country, but I've already photographed all of the West and I was just in Chicago doing the Midwest and I'm shooting Columbus and Cincinnati On this upcoming trip, also for the Midwest Love it. So yeah, that's ongoing and I think it's it. It's like I Always just like think about where I found myself in, just kind of in all, because it's this opportunity to travel the country as a recent architecture grad to see some of the coolest like Art Deco and early 20th century architecture around the country, to see all these cities that I've never seen to just explore.
Speaker 2:It's. It's just such a blessing I'm I'm really happy with the freedom that that you know, the Roeham's project unlocked and at this point it's like, even if who knows what will happen with the project, I'm making it for me, like you said, like either, no matter what happens, I plan to finish this project because I think it's a really valuable body of work to have to have this Collection it'll probably be like 150 150 buildings maybe. Just to see a whole country through this lens is really cool, and I think every step of effort that it takes makes a project harder to recreate or harder to do. And it's like When's the next time someone's gonna be able to dedicate their life for a year and a half to traveling around the country taking it's like super Mesh down thing. It's like if I don't do it, I feel like no one's gonna do it, which just kind of like fires me up and I'm like I just want to share that with the world.
Speaker 1:I love that dude. You know, when you think of these different things that you want to, these different stories that you want to tell, how do you go about releasing this with also kind of maintaining either I don't know if scarcity is the right word, but just maintaining that core essence of you where it doesn't feel like it's too much or it doesn't feel like it's not enough? Like, how do you go about? Like, what's your mental model around collections? I guess is a better question.
Speaker 2:Yeah, it's a good question, Cause it's the cause of a lot of internal dialogue and debate in my head, especially as I'm planning this power plant thing. Like what does that look like? Is it images that all are exploring a similar theme? But now, instead of like row homes and high rises, I keep the composition the same and I keep the subject matter varying. What if it's one of one and the subject is the same? But finding all these unique compositions is the variable. So I mean, for me it's about making sure the work is good and valuable and exploring something new.
Speaker 2:And I was a little hesitant with high rises to do it's like that same style of the front on, kind of like very Wes Anderson. Yeah, I was debating whether I should do that again because it's like is that too similar? Is that going to seem like I'm? It's like a cop out, like I'm just like row homes is successful and I'm just going to ride on that success and just do this other thing. That's like kind of like row homes. And I didn't. I, you know, I don't want to be a one hit wonder and I want every project to bring something new and have new challenges. And for high rises, for me.
Speaker 2:The first thing was drones makes it entirely different. I had to get licensed with the FAA, I have to get airspace clearances. I like there's a whole level of planning and complexity around that. That's really exciting to me. And then traveling instead of one city, digging into all these, the little variety of these row homes Now it's cities across the entire United States which the logistics of traveling and working that into my life is like part of the art is what goes into creating it, and that's entirely different than row homes.
Speaker 2:So when I was thinking about the two projects, I felt like it was different enough. And after row homes I was thinking like I could do Victorians in San Francisco, I could do shotgun houses in Louisiana and well, maybe I'll do those, I don't know yet. That felt a little too close because it's like I'm not bringing anything too new. It's the same idea. It's just comparing this building typology in a city, but they're the same scale. They're like also residential housing. It's too similar, but going to high rises. Now they're corporate owned and they have these crazy stories about the people that built them and the companies that occupied them.
Speaker 2:So, yeah, I guess making sure there's something new and exciting and not like riding on previous success too hard. Then there's the side of like developing your visual language. That I think is super important. How do you make work that people know is yours, how do you make it recognizable? And I made the intentional decision to keep the Wes Anderson orthographic style. You might call it as a way to help define that as my style. So when you saw the row homes, you see the high rises and you know that's me and it's intentional why I chose that too.
Speaker 2:It's like I'm looking at architecture and architectural analysis. I feel like introducing perspective just kind of complicates an image. In architecture we do elevation drawings, which is exactly the row homes project. It's like a flat on. It's a drawing that communicates the elevation. It communicates what the side of the building looks like. So I'm bringing that very technical lens from architecture school into my photography work and like thinking about documenting the power plants with a similar orthographic perspective. Like that's one option and it just keeps this visual language and it creates just a really clear and digestible image. You understand the form because of the lighting.
Speaker 1:Yeah.
Speaker 2:I want you to just know what this thing is. So I'm not relying on composition to do anything too crazy. It's about the architecture, not the composition.
Speaker 1:I like that. And speaking of composition, I want to touch back on the row homes project. Is that? Are those all natural shots or is there any composites like is there any composites in the row homes project?
Speaker 2:Yeah, they're almost all composites, Gotcha. There's maybe one, I think there's like one that isn't composited at all Gotcha but and a lot of times all composite but it's not really changing much Like. Compositing just gives me control, so I cut out the home to make it like in the foreground and stand out, Even if I'm not compositing. I want the home separated from the background so that I could add atmosphere and depth.
Speaker 2:I can change the curves and colors of the background. So, even when I don't throw in a new image, I'm gonna select it and I'm gonna use Photoshop to like define the depth and form Got it. So, once I have it selected, it's almost like I might as well pick a background image that's a little cleaner or works with the composition better, or have the skyline in the back For that. Yeah, it was mostly about storytelling. Sure, so I love the idea of having like the real yard in the background, because that has a certain set of connotations, or construction site in the background. And now you're thinking like this house, maybe it's about to be torn down. You know it starts to tell a story.
Speaker 2:So, yeah, I've never been, and I mean photoshopping and composites is a whole other conversation of like what's photography, what's digital art, and largely I don't care what you call it. Like, and I've always been transparent, like from Instagram very early on, my work is heavily photoshopped and it's like a huge part of my process and I think showing that process, which I do a lot on Twitter, it's not cheating, it's like it's more work, it's like it's part of the art. So I definitely would discourage anyone from hiding their composites.
Speaker 2:I feel like in landscape photography, it's a bit of a gray line because, like landscape photography, a lot of it is about going and just being lucky, catching incredible conditions with low clouds and a beautiful sunset. And when you start compositing it's different. It's a different type of art and it should be what. I guess the big problem people have is when people group a natural shot with a composite and they like the composite better because it's cooler, without considering the fact that the non-composite like it gets some brownie points for being a single exposure, and you need to communicate that and know what the art is to really appreciate it properly.
Speaker 1:And going back to, I'll highlight someone who's one of my favorite people here is Kath Samard, who I had her on the podcast last year and it's like you could go. This is also going back to like your style of photographing, like with high-rises and row homes, where it's like finding that style that defines who you are but yet it's like a hat tip to like who you are. It's like a nod to like who you are. It's a way to build that style but at the same time it is completely different. It's something brand new.
Speaker 1:Kath found a way to do that Like. There's something about her images where her blue is so distinguishable compared to anyone else in the space that, like you know, when it's a Kath image, right, like it is undeniable when you find something like that. So I think it's interesting because she has pushed a lot of the boundaries in her own right when it comes to like composites and landscape and what that means and what people get so riled up about and what they don't Like. To me as a collector, I could give two shits about it. You know, like what some of like. I mean I'm curious about some of the stuff that goes into it, but I'm not gonna sit here and like say that's not art, when it's a beautiful piece of work. You know what I mean. I could care less when it comes to that. Like this person is following exactly what is true to their nature and they're making something that comes from their soul.
Speaker 2:Yeah, and just this idea of visually recognizable work and style too, I think, is just an interesting conversation. That like it's so hard to find your style. What type, what is your voice? What images do you make? What does that look like? It's like a insurmountable challenge, as like a new photographer, new artist, new painter, whoever. It's so intimidating Because you see people that have achieved it, like Kath and like plenty of others, and like the only thing you can think is like well, you know, maybe I could replicate that, but it's like coming up with something from thin air that doesn't exist, like I don't.
Speaker 2:And the answer has always been like the journey, like it doesn't come overnight, like you don't. You just like like how I talked about figuring out my obsession and figuring out what's interesting through the work. So it's kind of like you're using photography to explore yourself and explore what you're interested in and then, like you said, you hope that resonates with other people too. But I think especially, maybe even more so, with NFTs like having that distinct, recognizable work is just so important, because I think it shows maturity in an artist, I think it shows like you put in the time and then also like you, just with a lot of like big ticket, like Beeple NFTs it's the name and everything that goes along with it, and you're, kind of in a weird way, building a brand, building a reputation, yeah.
Speaker 1:Yeah, I mean, you're exactly right and that's the one thing that, regardless of, like the technology, regardless of the media and regardless of how we communicate this like, we're all still humans at the end of the day, and this doesn't change Like. None of this changes any of that. You know where, like you find people you like through word of mouth and through recommendations. That hasn't changed. You know people by who they are and by their consistency, and not only who they are, but by their consistency and how they show up. You know, and what story they're telling. Like. Those are things that have always been true as long as humans have been alive.
Speaker 2:Something weird, to kind of a tangential thought. But I was just thinking about saying, like art building a brand, part of me kind of cringes Part like there's a whole side of art that's like you don't want to sell out, you don't want to commercialize, you don't want art to be a commodity and there's this incredible tension that's like super interesting to me of don't do that, don't sell out, don't do all that. But also how else are you gonna freaking survive?
Speaker 2:It's like yeah, it's in a lot of ways just discrediting art. I think and I feel like artists. And then there's the balance Like you need to monetize your art. If you want to do art full time, that's something you want to do. But letting that like I spoke with Jared a way I flew a great photographer and he intentionally is keeping his job, even though maybe he could support himself on NFTs, because he doesn't want that conflict of interest.
Speaker 1:He doesn't want-.
Speaker 2:I was just thinking that yep, yeah, he doesn't want money to be driving the art he creates, he wants it to just be true to what he wants to do. And there's something really real about that. For sure. And since I've been full time doing this I just graduated last year this has been something I've constantly debated and thought about and, like with Roe Homes, for instance, I think I was like beyond excited to create the first 30. That was a crazy time in my life where I had this vision, had this idea I just ate, slept and breathed Roe Homes, like if I wasn't making money from the project, I think I might have moved on after 30. Which then, you know, does that make the the last seventy-fourth? Does it mean they shouldn't exist? Like what does that? What does that mean?
Speaker 2:And interesting to me it's kind of like what we talked about, the balance of which.
Speaker 2:When do you go with the flow and just chase your passion and when you put in the work and NFTs and the whole construct of the project like made it. So I was willing to put in the work and I think it was really valuable because I think having a hundred in this collection only makes the project stronger. And it continued this exploration and and I kept it interesting to myself I didn't just keep doing the same thing. I would always try to make the edit different or try a different technique and lighting or do whatever I could to keep it fresh and exciting. Well, still kind of grinding them out.
Speaker 2:So so there's a balance and there's like a self reflection that goes along with it. Looking back, if I looked at the last seventy and thought like, oh geez, I didn't even care about it, they were forced, they're not good, right, you don't want to be there, that's. That's like absolutely what you're trying to avoid just doing it for money and not putting in the passion. But I think I found the balance in Roe Holmes and I'm happy with the project.
Speaker 1:And I think, yeah, I love the point you bring up the balance and how people choose to, I guess, embrace that balance or to live. The balance is different, like you know, like with your other friend, like he choose, he's choosing to keep his job because then that doesn't give him that conflict of interest. That's his balance. Right, like your balance. You have a different way of balancing it. And it brought me back to I just watched the Warhol Diaries, you know, on Netflix, and there was a, there was a part in there where he had that internal conflict as an artist of, like you know, being this commercial. You know mainstream, you know artists that just did portraits the way he did portraits. And you know you hang around rich people long enough and you, you talk to the right people and then you just do it all over again and they buy your work and that's how it works, you know. And you could tell, even though you know, even though there was an AI reading his like reading his diaries, which I thought was like brilliant, I love the way they did that. Yeah, you could tell that, even when it would it probably just testament to the AI model as well.
Speaker 1:It's, yeah, it gets into a whole nother conversation, but it like how you can actually feel the kind of disdain or the, the I guess I don't know if disdain is the right word but like, just the kind of like that reality settling in of them. Is this what I've become? You know, you could tell, because that's not what he set out to do, but that's what he's become. I also am a good. I also like to challenge thought, though, of like, why is that a bad thing? You know what I mean. Like, because isn't that, again, that's what we're all here to do, you know? Or like, what a lot of us are here to do is to make a living off of what we create.
Speaker 2:Yeah, and I think it like. I like to look at motives too and like knowing, like just not being too material and not telling myself the lies of if I have the nicer apartment, if I have the car, it'll make me happy, If I do this, it'll make me happy not not falling into those traps and making like the money made isn't to satisfy these cravings that are never going to be satisfied.
Speaker 2:Yeah, the money made like, like you know, right now being able to reinvest and to make more art and to, you know, follow my curiosities further I think that's like a noble pursuit.
Speaker 1:So it's also kind of what you do, with the success and people see that you know so, and that's that's what and I think that's where a lot of the judgment will come in from other people is that you know, like what is this person doing with it? But also, you know, I've also been. You know, I know that those those things that you talked about won't ever solve the problem, like they won't ever fulfill me. You know, to they want, they want those things don't solve happiness, for happiness, right. Like those things don't solve like they're. They solve for happiness but they don't solve for fulfillment, right.
Speaker 1:But at the same, you know, as a kid I always grew up, you know I had a, like a Ferrari F-50 model toy car and that was like my favorite one. If I owned one of those, like that'd be pretty fucking cool and like that would just be living out my own. You know, like, like who I am right, like that would be a cool thing to. I've always been obsessed with cars and my dad and I always drove cars as a kid, you know. So, like to me, it's like you can look at this in a couple of steps right, in a couple of certain ways, like I look at this from a perspective of like this and that, right, where it's like. I don't feel like it's my. I don't feel like I have to choose, kind of like putting yourself in a box of like you know what it's. It's, it's making these choices of like. Why not have everything you know if you can? And why not do something that's authentic, as long as it's authentic?
Speaker 2:Yeah well, no, you're right to fight back a little bit on. Like material things don't make you happy. It's just you know the cliche. But yeah, I love your story of of this car. That's been a fascination forever and that really would be like like a really beautiful closure to life If by the end of this wild journey.
Speaker 2:You started with the toy car and and you lived a good life and you, you got like there's something really beautiful about that, and it's an entirely different thing to have a million dollars in your bank account and just go to the dealer and and buy the Jaguar because it's more expensive than it. You know it could be any car, it doesn't matter, and you're hollow and empty inside. That's right man, that's right, yeah.
Speaker 1:Different places. You know there's I can't remember where I heard it from. It was like this, it's. You know, I try not to like, I live life by mantras, but I try not to repeat them too much just because they can become, you know, overused.
Speaker 2:That sounds like a mantra.
Speaker 1:Yeah, it does.
Speaker 1:It does but it's like you know the people that are so like, they're so poor, all they have is money. You know what I mean. Like that, it kind of like falls into line with that and I think it goes back to the whole theme. You know, or one of the through lines of this entire conversation is like doing things with intent, you know, like doing these things with like, because it genuinely feeds your curiosity. It's what you want, you, you it's, it's what drives this like endless pit of questions. You know that never, that will probably never end. You know what I mean. If you get to continue pursuing this.
Speaker 2:It's really interesting that it's like how hard I'm sorry about that. How hard it is to live with intent Like a lot of people, it's fucking hard.
Speaker 2:Yeah, like you see it with the people that win the lottery, like, okay, now you don't have to do anything, you're free, you go, enjoy your land, and then the half of them like commit suicide or something. Like you don't. What do you even do without a purpose? Like if you lose your job and you feel like you don't have a purpose, how do you find it Right? So it.
Speaker 2:I just think it's a really special thing. It's like elusive, like a light that you have to keep on to know what to do, right. So I'm worried about the day. You know, like right now, with every project I do, what happens when that project's over? What if I finish the project and I'm sitting around my house without a job, not sure what to do, not inspired, like that is absolutely terrifying to me and so far I've been fortunate to, and I'm really curious how this will continue and how this will play out, and if I'll be able to just be a full-time artist for my whole life or if I'm going back to architecture, no idea, but so far it's always been like halfway through a project I get excited about the next thing.
Speaker 2:Yeah and then I get antsy and I start working on it and I like, with row homes and high rallies, I was finishing up row homes and I was like, okay, okay, we're you know, wrap it up, tie a bow around it. But by the second drop I was already thinking about logistics for high rises. I was getting my license. I was like, yeah, working everything out. And then now I'm, you know, midway through high rises and I'm thinking about these power play, like my mind is kind of drifting, yeah, which I think is good, and you know I'm excited that that's the case.
Speaker 1:I was just gonna say that with you because I share the similar fear of almost just like growing as a human being. Sometimes I'll just like I'll get to a certain point where I'm like really content with the growth that I've done. Like you know what? There's nothing more to learn in life, right Like it's not.
Speaker 2:I don't say that, but my actions reflect that, right yeah well, and there was a time that's kind of interesting, right after architecture school. So my final project in architecture Consumed my entire life. It was everything to me and and like I put so much into it and I won like first place in our class. It's like a competition in architecture school, so like that was a great closure and I but then you know, you get like the postpartum depression of like this was a great thing you're working towards and you achieved it. Then what?
Speaker 2:Right now it was the beginning of the summer and I was just kind of I'm taking around, didn't really know what to do. I just told myself, okay, I'll get a job in September, I'll cut it off. You know, I had six years in school, I'll give myself a little break. But I felt kind of shitty. I didn't really have direction, wasn't sure what to do. And then that's when I found NFTs, which just like ignited this whole direction now and it gave me the, the confidence in myself and the faith to pursue this. And I think it's it's just dangerous to get too discouraged and it I've thought a lot about this to the success Early in this NFT thing.
Speaker 2:So many artists, you know I went from selling prints for a hundred bucks here and there hey, yeah, you know single images selling for tens of thousands of dollars. Like, yeah, nothing really prepares you for that and In my mind I'm like trying not to get used to it because maybe that, maybe that last, maybe that doesn't, whatever happens, like I think that would be such a catastrophe.
Speaker 2:Hmm if NFTs and early success could ruin an artist because they got a taste and then they fell from grace and then they couldn't do it anymore because they got used to that level of stimulation.
Speaker 1:Oh, hundred percent, and I. Something that's been really interesting is watching the dynamic between artists and collectors. Oh, like what's been the I guess what's been the biggest you know change or shift like in being able to have such a close relationship with your collectors.
Speaker 2:Yeah, I think the biggest, biggest like mindset shift is feeling like you're not alone anymore, like with with Roe homes and that community being able to, to, like, have help. And I have all these questions, all of these ideas on like just, is the project capped or is it ongoing? What's the price for each release? How does this work? What? What other avenues could this project go down?
Speaker 2:Whatever it might be, now I have this whole group of people that is like behind my work, that is interested in what I'm doing, that I can bounce ideas off of, and that can really be a part of this thing, and there's a level of like being self-dependent or freelance and working for myself. One thing that I really miss about the office is working with people like. There's something really human about Going to an office and having a team and working on things that you lose as an independent artist. I don't want to just be alone all the time with no one to talk to and know it like. That sounds awful, yeah, so I think that's that's a role that collectors can have.
Speaker 1:I didn't, I would have never thought about that. It's a. It's actually, especially as we're going into like, especially that you know we're moving more and more towards it like a really, really digital future. I think that makes complete sense.
Speaker 2:Yeah, the whole work from home thing is such a big experiment, yeah, and it's so interesting to see the results of it. And I think what a lot of people are learning is the value of community, which is kind of nebulous, and it you need the right job and you need the right people, and sometimes that kind of community can be toxic and Exploitative and and not healthy. But other times you that's like the richness in life, like you can find a lot of joy in a job and working in a team and doing something bigger than yourself. Like I feel like we've lost sight of that a little bit. Yeah, I'm not a great person to talk on it because, like I Work alone.
Speaker 2:I do have a team for high-rises, which is really great. That's awesome, bounce ideas off of and everything as well. But yeah, it will see how the experiment goes. You know how long and it's a personality type to like some people maybe are totally fine alone and other people realize that they need to get back. So yeah, I've I've followed it closely and I'm always interested the headlines that come out about, like quiet quitting, and the great resignation and Complexity that the world is dove into it is met.
Speaker 1:Yeah, I'll keep you posted on that. You know, for as long as I have this, I'll keep you posted on this. But, chris, I want to start I'm start wrapping things up, man. This has been, this has been a fun conversation. I gotta ask. So, like we talked about, like a bigger vision beyond, you know, technology and beyond the end of, beyond the medium of expression that we currently have today, how do you want people to remember you at the end of the day?
Speaker 2:Yeah, short question in a long form. I I don't even know. To be honest, like right now I'm finding a lot of joy in like not overthinking, and like we've talked about through the whole conversation, just following the curiosity. And I think one of the exciting things is I have no idea where that road takes me. No idea I, I have no clue. I guess the legacy would be this this freedom to explore and to stay curious, and I hope that by the end of my life my body of work is just like the narrative in my head, it's just like what all these thoughts that are going on like, yeah, I think it's a great thing In, it's the great thing about art that you can put who you are and put your thoughts and put what, what, what fascinates you into a medium. So, yeah, I don't know a lot of answers to that questions, a lot of not answers to.
Speaker 1:But it's okay. It's a very open-ended question, yeah, man. Well, chris, I'm gonna. We'll go ahead and wrap up and sign off here, man, but at work and people find your work where. Where do you want people to go to find you first, or where you the most accurate?
Speaker 2:Instagram is the biggest body of work. I think it's fun because you can scroll all the way down that conversation about style. You can see Four plus years of shitty photos, if that is interesting to you To see how it develops it, and I always love looking back and finding the nuggets, that kind of like informed where I am now and the road that took. But yeah, instagram, hytha, cg. Hi does my last name, cg is just my first and middle initial and and Website hi the CG calm. If you type hi the CG, you'll find me cool. Hi THA CG. If I didn't spell it out sick man.
Speaker 1:Chris, thank you so much. It's been a treat.
Speaker 2:Yeah, this has been great.
Speaker 1:Thanks for having me. Thank you for listening to the Schiller vaulted podcast. We hope you enjoyed the conversation. As we close out today's episode, don't forget to subscribe to our podcast on your favorite audio platform and leave a five star review to ensure you never miss an episode and to help others discover the vaulted podcast as well. To stay updated on upcoming episodes, as well as our weekly Twitter space schedule, be sure to follow us on X, formerly known as Twitter, at Schiller XYZ. Once again, thank you for tuning in and remember if you're looking for it Art is everywhere and it's up to us to appreciate and explore the emotions it brings to our lives. Until next time. This is Boone signing off.