The Balance
Between Laughter
and Looking Inward:
A Conversation
with Bryan Brinkman
The Balance
Between
Laughter
and Looking
Inward: A
Conversation
with Bryan
Brinkman
The Balance
Between
Laughter
and Looking
Inward: A
Conversation
with Bryan
Brinkman
Written by
Elle Bland
Interview
2023
Introduction
As I waited for our meeting to begin, I wondered how long it would take to get a grasp on Bryan’s career. Little did I know, I’d receive a perfect summation within the first few minutes that he popped onto the screen.
Posters on his walls, sketches around his room, leaning comfortably back in his chair as if he were on the phone with an old friend, our conversation was witty and light-hearted — funny yet profound. Bryan struck a perfect balance between making me laugh and making me look inward. Compared to his work — a series of playful animations with hidden meanings — it’s easy to see how Brinkman comes alive in his collections.
With all art, there are elements of meaning that will never leave the creators mind. In this interview, I am fortunate enough to take a peek behind the curtains — to peel back the layers of Bryan Brinkman and learn more about how he sees his art — and how we can see him in it.
As I waited for our meeting to begin, I wondered how long it would take to get a grasp on Bryan’s career. Little did I know, I’d receive a perfect summation within the first few minutes that he popped onto the screen.
Posters on his walls, sketches around his room, leaning comfortably back in his chair as if he were on the phone with an old friend, our conversation was witty and light-hearted — funny yet profound. Bryan struck a perfect balance between making me laugh and making me look inward. Compared to his work — a series of playful animations with hidden meanings — it’s easy to see how Brinkman comes alive in his collections.
With all art, there are elements of meaning that will never leave the creators mind. In this interview, I am fortunate enough to take a peek behind the curtains — to peel back the layers of Bryan Brinkman and learn more about how he sees his art — and how we can see him in it.
As I waited for our meeting to begin, I wondered how long it would take to get a grasp on Bryan’s career. Little did I know, I’d receive a perfect summation within the first few minutes that he popped on the screen.
Posters on his walls, sketches around his room, leaning comfortably back in his chair as if he were on the phone with an old friend, our conversation was witty and light-hearted — funny yet profound. Bryan struck a perfect balance between making me laugh and making me look inward. When compared to his work — a series of playful animations with hidden meanings — it’s easy to see how Brinkman comes alive in his collections.
With all art, there are elements of meaning that will never leave the creators mind. In this interview, I am fortunate enough to take a peek behind the curtains — to peel back the layers of Bryan Brinkman and learn more about how he sees his art — and how we can see him in it.
As I waited for our meeting to begin, I wondered how long it would take to get a grasp on Bryan’s career. Little did I know, I’d receive a perfect summation within the first few minutes that he popped onto the screen.
Posters on his walls, sketches around his room, leaning comfortably back in his chair as if he were on the phone with an old friend, our conversation was witty and light-hearted — funny yet profound. Bryan struck a perfect balance between making me laugh and making me look inward. Compared to his work — a series of playful animations with hidden meanings — it’s easy to see how Brinkman comes alive in his collections.
With all art, there are elements of meaning that will never leave the creators mind. In this interview, I am fortunate enough to take a peek behind the curtains — to peel back the layers of Bryan Brinkman and learn more about how he sees his art — and how we can see him in it.
Elle
Let’s talk about the first time you started making art. Do you remember the first time you sat down to do something creative?
Let’s talk about the first time you started making art. Do you remember the first time you sat down to do something creative?
Let’s talk about the first time you started making art. Do you remember the first time you sat down to do something creative?
Bryan
I was probably eight or nine years old, playing around with Microsoft Paint. Sometimes I’d use an early animation program or a 3D movie maker — whatever weird creative software I could find.
I took some early oil painting classes, but that felt less like being creative and more like trying to copy someone else. The teacher would tell us, "Alright, I’m going to teach you how to do this," and then we’d need to follow those instructions. At the end of the day, I didn't feel like I was making stuff. But when I discovered digital art, I could take the doodles on the side of my notebook and turn them into a story.
That’s what sparked my interest, and the rest is history.
I was probably eight or nine years old, playing around with Microsoft Paint. Sometimes I’d use an early animation program or a 3D movie maker — whatever weird creative software I could find.
I took some early oil painting classes, but that felt less like being creative and more like trying to copy someone else. The teacher would tell us, "Alright, I’m going to teach you how to do this," and then we’d need to follow those instructions. At the end of the day, I didn't feel like I was making stuff. But when I discovered digital art, I could take the doodles on the side of my notebook and turn them into a story.
That’s what sparked my interest, and the rest is history.
I was probably eight or nine years old, playing around with Microsoft Paint. Sometimes I’d use an early animation program or a 3D movie maker — whatever weird creative software I could find.
I took some early oil painting classes, but that felt less like being creative and more like trying to copy someone else. The teacher would tell us, “Alright, I’m going to teach you how to do this”, and then we’d need to follow those instructions. At the end of the day, I didn't feel like I was making stuff. But when I discovered digital art, I could take the doodles on the side of my notebook and turn them into a story.
That’s what sparked my interest, and the rest is history.
I was probably eight or nine years old, playing around with Microsoft Paint. Sometimes I’d use an early animation program or a 3D movie maker — whatever weird creative software I could find.
I took some early oil painting classes, but that felt less like being creative and more like trying to copy someone else. The teacher would tell us, "Alright, I’m going to teach you how to do this," and then we’d need to follow those instructions. At the end of the day, I didn't feel like I was making stuff. But when I discovered digital art, I could take the doodles on the side of my notebook and turn them into a story.
That’s what sparked my interest, and the rest is history.
Elle
You’ve gone from doodling in notebooks to finding success in animations and NFTs. Walk me through the journey.
You’ve gone from doodling in notebooks to finding success in animations and NFTs. Walk me through the journey.
You’ve gone from doodling in notebooks to finding success in animations and NFTs. Walk me through the journey.
Bryan
I guess the journey started in high school. I was taking graphic design courses, but I chose to walk away and pursue animation.
Finding work is not easy in the animation world, so I started in fashion advertising, and then I went over to toy commercials. Eventually, I landed a role working with household names, like HBO and MTV, but most gigs in that world don’t last long, so I kept jumping around to different jobs here and there.
Finally, I got a long-form job when I started working at The Tonight Show with Jimmy Fallon and, in addition to that, SNL. Combined, they accounted for about eight years of my life.
I loved it, but I always had my projects on the side — gallery shows in LA, music videos, creating concert posters, etc. When I first heard about NFTs, it felt like a new way to keep pursuing those personal creative needs — a new way for artists to create and connect.
Throughout 2020, I saw the space grow exponentially — I saw my art value grow exponentially. Eventually, I made enough money that I thought, “I think this is an opportunity for me to make my art a full-time career." So, I left the TV shows in February of 2021, and I've been full-time web3 since.
I guess the journey started in high school. I was taking graphic design courses, but I chose to walk away and pursue animation.
Finding work is not easy in the animation world, so I started in fashion advertising, and then I went over to toy commercials. Eventually, I landed a role working with household names, like HBO and MTV, but most gigs in that world don’t last long, so I kept jumping around to different jobs here and there.
Finally, I got a long-form job when I started working at The Tonight Show with Jimmy Fallon and, in addition to that, SNL. Combined, they accounted for about eight years of my life.
I loved it, but I always had my projects on the side — gallery shows in LA, music videos, creating concert posters, etc. When I first heard about NFTs, it felt like a new way to keep pursuing those personal creative needs — a new way for artists to create and connect.
Throughout 2020, I saw the space grow exponentially — I saw my art value grow exponentially. Eventually, I made enough money that I thought, “I think this is an opportunity for me to make my art a full-time career." So, I left the TV shows in February of 2021, and I've been full-time web3 since.
I guess the journey started in high school. I was taking graphic design courses, but I chose to walk away and pursue animation.
Finding work is not easy in the animation world, so I started in fashion advertising, and then I went over to toy commercials. Eventually, I landed a role working with household names, like HBO and MTV, but most gigs in that world don’t last long, so I kept jumping around to different jobs here and there.
Finally, I got a long-form job when I started working at The Tonight Show with Jimmy Fallon and, in addition to that, SNL. Combined, they accounted for about eight years of my life.
I loved it, but I always had my projects on the side — gallery shows in LA, music videos, creating concert posters, etc. When I first heard about NFTs, it felt like a new way to keep pursuing those personal creative needs — a new way for artists to create and connect.
Throughout 2020, I saw the space grow exponentially — I saw my art value grow exponentially. Eventually, I made enough money that I thought, “I think this is an opportunity for me to make my art a full-time career." So, I left the TV shows in February of 2021, and I've been full-time web3 since.
I guess the journey started in high school. I was taking graphic design courses, but I chose to walk away and pursue animation.
Finding work is not easy in the animation world, so I started in fashion advertising, and then I went over to toy commercials. Eventually, I landed a role working with household names, like HBO and MTV, but most gigs in that world don’t last long, so I kept jumping around to different jobs here and there.
Finally, I got a long-form job when I started working at The Tonight Show with Jimmy Fallon and, in addition to that, SNL. Combined, they accounted for about eight years of my life.
I loved it, but I always had my projects on the side — gallery shows in LA, music videos, creating concert posters, etc. When I first heard about NFTs, it felt like a new way to keep pursuing those personal creative needs — a new way for artists to create and connect.
Throughout 2020, I saw the space grow exponentially — I saw my art value grow exponentially. Eventually, I made enough money that I thought, “I think this is an opportunity for me to make my art a full-time career." So, I left the TV shows in February of 2021, and I've been full-time web3 since.
Elle
You emphasize “my” art. What do you mean by that? What makes the work you did for TV different from the work you’ve done in web3?
You emphasize “my” art. What do you mean by that? What makes the work you did for TV different from the work you’ve done in web3?
You emphasize “my” art. What do you mean by that? What makes the work you did for TV different from the work you’ve done in web3?
Bryan
Personal fulfillment.
Sure, working on a network television show comes with instant gratification. I make a funny image and then I see it on TV — but nobody knows who it was made by. On top of that, working on those shows means watching a lot of your pieces be thrown in the trash because you never know if something will air or not. After 1,600 of those in a row, you start to burn out. The cycle repeats itself over and over and over. The same jokes are said over and over and over. It’s not fulfilling.
The difference between that and NFTs is, when I release a piece, a collector might reach out and say, “Hey, I flipped your art and used the profit to buy an engagement ring.” Or, “Selling your piece allowed me to go on a trip with my son we couldn’t have taken otherwise." It warms my heart to know those things are made possible entirely by what I did — not because of a collaboration with a show, a writer, or anyone else. It's much more gratifying in that way.
Personal fulfillment.
Sure, working on a network television show comes with instant gratification. I make a funny image and then I see it on TV — but nobody knows who it was made by. On top of that, working on those shows means watching a lot of your pieces be thrown in the trash because you never know if something will air or not. After 1,600 of those in a row, you start to burn out. The cycle repeats itself over and over and over. The same jokes are said over and over and over. It’s not fulfilling.
The difference between that and NFTs is, when I release a piece, a collector might reach out and say, “Hey, I flipped your art and used the profit to buy an engagement ring.” Or, “Selling your piece allowed me to go on a trip with my son we couldn’t have taken otherwise." It warms my heart to know those things are made possible entirely by what I did — not because of a collaboration with a show, a writer, or anyone else. It's much more gratifying in that way.
Personal fulfillment.
Sure, working on a network television show comes with instant gratification. I make a funny image and then I see it on TV — but nobody knows who it was made by. On top of that, working on those shows means watching a lot of your pieces be thrown in the trash because you never know if something will air or not. After 1,600 of those in a row, you start to burn out. The cycle repeats itself over and over and over. The same jokes are said over and over and over. It’s not fulfilling.
The difference between that and NFTs is, when I release a piece, a collector might reach out and say, “Hey, I flipped your art and used the profit to buy an engagement ring.” Or, “Selling your piece allowed me to go on a trip with my son we couldn’t have taken otherwise.” It warms my heart to know those things are made possible entirely by what I did — not because of a collaboration with a show, a writer, or anyone else. It's much more gratifying in that way.
Personal fulfillment.
Sure, working on a network television show comes with instant gratification. I make a funny image and then I see it on TV — but nobody knows who it was made by. On top of that, working on those shows means watching a lot of your pieces be thrown in the trash because you never know if something will air or not. After 1,600 of those in a row, you start to burn out. The cycle repeats itself over and over and over. The same jokes are said over and over and over. It’s not fulfilling.
The difference between that and NFTs is, when I release a piece, a collector might reach out and say, “Hey, I flipped your art and used the profit to buy an engagement ring.” Or, “Selling your piece allowed me to go on a trip with my son we couldn’t have taken otherwise." It warms my heart to know those things are made possible entirely by what I did — not because of a collaboration with a show, a writer, or anyone else. It's much more gratifying in that way.
Elle
You went from collaborating with a large group of people to creating art entirely on your own. How have you navigated that newfound freedom?
You went from collaborating with a large group of people to creating art entirely on your own. How have you navigated that newfound freedom?
You went from collaborating with a large group of people to creating art entirely on your own. How have you navigated that newfound freedom?
Bryan
Early on in my NFT journey, I made a manifesto-type thing on this blog called Cent. To sum it up, I said, “I’m figuring this out as I go, but my goal is to try new things constantly.” I thought, “if this is going to be my career for the next 40 years, I don't want to get bored with it after one.” So, I made a conscious effort to let people know not to expect the same thing from me, which permitted me to play around.
On the other hand, I also wanted my art to feel like my own — like it had an identity that people could point to and recognize. I did that by using my color scheme throughout all my work. Whether it was a 3D piece, a 2D piece, or a generative piece, as long as it had consistent colors, I felt like it was all tied to some umbrella to a degree. Over time, I would introduce certain symbols for the same reason.
Sometimes it was wires to represent connection,
Early on in my NFT journey, I made a manifesto-type thing on this blog called Cent. To sum it up, I said, “I’m figuring this out as I go, but my goal is to try new things constantly.” I thought, “if this is going to be my career for the next 40 years, I don't want to get bored with it after one.” So, I made a conscious effort to let people know not to expect the same thing from me, which permitted me to play around.
On the other hand, I also wanted my art to feel like my own — like it had an identity that people could point to and recognize. I did that by using my color scheme throughout all my work. Whether it was a 3D piece, a 2D piece, or a generative piece, as long as it had consistent colors, I felt like it was all tied to some umbrella to a degree. Over time, I would introduce certain symbols for the same reason.
Sometimes it was wires to represent connection,
Early on in my NFT journey, I made a manifesto-type thing on this blog called Cent. To sum it up, I said, “I’m figuring this out as I go, but my goal is to try new things constantly.” I thought, “if this is going to be my career for the next 40 years, I don't want to get bored with it after one.” So, I made a conscious effort to let people know not to expect the same thing from me, which permitted me to play around.
On the other hand, I also wanted my art to feel like my own — like it had an identity that people could point to and recognize. I did that by using my color scheme throughout all my work. Whether it was a 3D piece, a 2D piece, or a generative piece, as long as it had consistent colors, I felt like it was all tied to some umbrella to a degree. Over time, I would introduce certain symbols for the same reason.
Sometimes it was wires to represent connection,
Early on in my NFT journey, I made a manifesto-type thing on this blog called Cent. To sum it up, I said, “I’m figuring this out as I go, but my goal is to try new things constantly.” I thought, “if this is going to be my career for the next 40 years, I don't want to get bored with it after one.” So, I made a conscious effort to let people know not to expect the same thing from me, which permitted me to play around.
On the other hand, I also wanted my art to feel like my own — like it had an identity that people could point to and recognize. I did that by using my color scheme throughout all my work. Whether it was a 3D piece, a 2D piece, or a generative piece, as long as it had consistent colors, I felt like it was all tied to some umbrella to a degree. Over time, I would introduce certain symbols for the same reason.
Sometimes it was wires to represent connection,
"Artifex", May 5, 2022. View on OpenSea
Bryan
or clouds to represent the data we're producing, or diamonds to represent the value we're creating.
or clouds to represent the data we're producing, or diamonds to represent the value we're creating.
… or clouds to represent the data we're producing, or diamonds to represent the value we're creating.
Bryan
Those details became dioramas of whatever I was feeling or thinking about. At first glance, someone might say, "Oh, that's an interesting piece of art." But if you look deeper, there’s a story being told — a story that continues throughout every collection.
I always thought there was something cool about superhero universes where everything's connected, and I believe we do it subconsciously when we make art. You make one thing here and another thing there and you don't think about it — but it all ties together. It's fun to make those connections purposefully, especially since a collector that buys a piece of mine this week might not have been in the space three months ago and has no idea about stuff I made two years ago. This way, I can bring attention to my past work — and show my appreciation for people who have been here since the beginning.
Those details became dioramas of whatever I was feeling or thinking about. At first glance, someone might say, "Oh, that's an interesting piece of art." But if you look deeper, there’s a story being told — a story that continues throughout every collection.
I always thought there was something cool about superhero universes where everything's connected, and I believe we do it subconsciously when we make art. You make one thing here and another thing there and you don't think about it — but it all ties together. It's fun to make those connections purposefully, especially since a collector that buys a piece of mine this week might not have been in the space three months ago and has no idea about stuff I made two years ago. This way, I can bring attention to my past work — and show my appreciation for people who have been here since the beginning.
Those details became dioramas of whatever I was feeling or thinking about. At first glance, someone might say, “Oh, that's an interesting piece of art.” But if you look deeper, there’s a story being told — a story that continues throughout every collection.
I always thought there was something cool about superhero universes where everything’s connected, and I believe we do it subconsciously when we make art. You make one thing here and another thing there and you don't think about it — but it all ties together. It's fun to make those connections purposefully, especially since a collector that buys a piece of mine this week might not have been in the space three months ago and has no idea about stuff I made two years ago. This way, I can bring attention to my past work — and show my appreciation for people who have been here since the beginning.
Those details became dioramas of whatever I was feeling or thinking about. At first glance, someone might say, "Oh, that's an interesting piece of art." But if you look deeper, there’s a story being told — a story that continues throughout every collection.
I always thought there was something cool about superhero universes where everything's connected, and I believe we do it subconsciously when we make art. You make one thing here and another thing there and you don't think about it — but it all ties together. It's fun to make those connections purposefully, especially since a collector that buys a piece of mine this week might not have been in the space three months ago and has no idea about stuff I made two years ago. This way, I can bring attention to my past work — and show my appreciation for people who have been here since the beginning.
Elle
You mentioned Cent earlier. At one point, you used those blogs to talk about your creative process. I’m curious to know more about what that process looks like.
You mentioned Cent earlier. At one point, you used those blogs to talk about your creative process. I’m curious to know more about what that process looks like.
Bryan
Oh yeah! That goes way back.
I don't know if newcomers to the space will remember what Cent was, but the purpose was to write a blog, let people read it, and then they can click a little button and tip you one cent worth of Ethereum. I started posting because I thought it would serve as proof of work to a degree, especially because I was a new artist in the space. But it was also just fun for me to reflect at the end of the process and start breaking it down.
Oh yeah! That goes way back.
I don't know if newcomers to the space will remember what Cent was, but the purpose was to write a blog, let people read it, and then they can click a little button and tip you one cent worth of Ethereum. I started posting because I thought it would serve as proof of work to a degree, especially because I was a new artist in the space. But it was also just fun for me to reflect at the end of the process and start breaking it down.
Oh yeah! That goes way back.
I don’t know if newcomers to the space will remember what Cent was, but the purpose was to write a blog, let people read it, and then they can click a little button and tip you one cent worth of Ethereum. I started posting because I thought it would serve as proof of work to a degree, especially because I was a new artist in the space. But it was also just fun for me to reflect at the end of the process and start breaking it down.
Oh yeah! That goes way back.
I don't know if newcomers to the space will remember what Cent was, but the purpose was to write a blog, let people read it, and then they can click a little button and tip you one cent worth of Ethereum. I started posting because I thought it would serve as proof of work to a degree, especially because I was a new artist in the space. But it was also just fun for me to reflect at the end of the process and start breaking it down.
Thumbs Up - Making Of
“Thumbs Up”, March 11, 2020. View on Super Rare
Bryan
When I started, my pieces were journals of my experience in the space. Sometimes it was a diamond flipping — that was me learning about how NFTs were being flipped.
When I started, my pieces were journals of my experience in the space. Sometimes it was a diamond flipping — that was me learning about how NFTs were being flipped.
"Flip" Making Of
"Flip", 17 March, 2020. View on Super Rare
Bryan
Sometimes it was a gas container — that was me learning about what gas fees are.
And sometimes, it was me dangling from wires in my head because it was in the middle of the COVID lockdown and I felt like I was trapped.
Sometimes it was a gas container — that was me learning about what gas fees are.
And sometimes, it was me dangling from wires in my head because it was in the middle of the COVID lockdown and I felt like I was trapped.
Sometimes it was a gas container — that was me learning about what gas fees are.
And sometimes, it was me dangling from wires in my head because it was in the middle of the COVID lockdown and I felt like I was trapped.
"Gas" August 8, 2020. View on Super Rare
"Wired", April 18, 2020. View on Super Rare
Bryan
Othertimes, it would be a take on current events. For example, the drop I did in October was based on the conversation about getting rid of royalties. I felt like artists were losing control quickly, so I called it CTRL. Each piece is a representation of what I felt like the space was becoming — complete with destructive tornadoes and slot machines.
Othertimes, it would be a take on current events. For example, the drop I did in October was based on the conversation about getting rid of royalties. I felt like artists were losing control quickly, so I called it CTRL. Each piece is a representation of what I felt like the space was becoming — complete with destructive tornadoes and slot machines.
Othertimes, it would be a take on current events. For example, the drop I did in October (2022) was based on the conversation about getting rid of royalties. I felt like artists were losing control quickly, so I called it CTRL. Each piece is a representation of what I felt like the space was becoming — complete with destructive tornadoes and slot machines.
"FLOOR SWEEP". View on Nifty Gateway
FLYWHEEL by Bryan Brinkman
Bryan
Other times, I’d focus on broad musings of how art is made. For example, in my newest piece "Automatonomy", the theme is creativity. I use a pinball and marbles flowing into a head to represent ideas flowing into the brain.
Other times, I’d focus on broad musings of how art is made. For example, in my newest piece "Automatonomy", the theme is creativity. I use a pinball and marbles flowing into a head to represent ideas flowing into the brain.
Other times, I’d focus on broad musings of how art is made. For example, in my newest piece “Automatonomy”, the theme is creativity. I use a pinball and marbles flowing into a head to represent ideas flowing into the brain.
Bryan
Once I had that core concept, I started thinking about those recurring symbols I mentioned
earlier. How can I refer to my past work? And how can those references contribute to the meaning?
Once I had that core concept, I started thinking about those recurring symbols I mentioned earlier. How can I refer to my past work? And how can those references contribute to the meaning?
Once I had that core concept, I started thinking about those recurring symbols I mentioned earlier. How can I refer to my past work? And how can those references contribute to the meaning?
"Chuting Star", March 24, 2020. View on Super Rare
"Downpour", Oct 2020. View on Nifty Gateway
“Autonomy”, May 24, 2023. View on Sothebys
Bryan
The "Automatonomy" is pretty busy — it’s got a lot of moving parts. But even in the simplest of drops, there are layers of meaning. For example, NimBuds seem like simple clouds of faces, but they have a rich history in my older work. They are connected to the Nifty Gateway drop I did, called Cloudy. And that Cloudy collection was a sequel to a piece called Wired.
Art is interesting in that way. You can start at point A, try to make it to point B, and end up at point Y. It’s a product of experimenting, and sometimes you’re left with things you never expected.
The "Automatonomy" is pretty busy — it’s got a lot of moving parts. But even in the simplest of drops, there are layers of meaning. For example, NimBuds seem like simple clouds of faces, but they have a rich history in my older work. They are connected to the Nifty Gateway drop I did, called Cloudy. And that Cloudy collection was a sequel to a piece called Wired.
Art is interesting in that way. You can start at point A, try to make it to point B, and end up at point Y. It’s a product of experimenting, and sometimes you’re left with things you never expected.
The “Automatonomy” is pretty busy — it’s got a lot of moving parts. But even in the simplest of drops, there are layers of meaning. For example, NimBuds seem like simple clouds of faces, but they have a rich history in my older work. They are connected to the Nifty Gateway drop I did, called Cloudy. And that Cloudy collection was a sequel to a piece called Wired.
Art is interesting in that way. You can start at point A, try to make it to point B, and end up at point Y. It’s a product of experimenting, and sometimes you’re left with things you never expected.
Elle
With all of that experimentation, how do you know when a piece is finally finished?
With all of that experimentation, how do you know when a piece is finally finished?
Bryan
It’s tough. Not everything is made to be minted.
Usually, if I hold onto something too long, I get bored of it, and then it doesn't feel like it's authentic to me anymore. There are things that I look at and say, "Oh, this is a great SuperRare piece." And then I hold onto it too long and think, "I don't know what to do with this.” Maybe I'll pull things from it for something in the future, but some things just don't work out.
At this point, I've released about 4,000 NFTs over three years. And the biggest thing I’ve learned is, as long as I am genuinely proud of it, and I believe it has a purpose, I think it deserves the light of day.
It’s possible that when I decide a piece is finished, there’s a different version out there in the multiverse that sells at a higher price. That’s fine. As long as my piece is positively contributing to someone’s life, it’s worth something.
It’s tough. Not everything is made to be minted.
Usually, if I hold onto something too long, I get bored of it, and then it doesn't feel like it's authentic to me anymore. There are things that I look at and say, "Oh, this is a great SuperRare piece." And then I hold onto it too long and think, "I don't know what to do with this.” Maybe I'll pull things from it for something in the future, but some things just don't work out.
At this point, I've released about 4,000 NFTs over three years. And the biggest thing I’ve learned is, as long as I am genuinely proud of it, and I believe it has a purpose, I think it deserves the light of day.
It’s possible that when I decide a piece is finished, there’s a different version out there in the multiverse that sells at a higher price. That’s fine. As long as my piece is positively contributing to someone’s life, it’s worth something.
It’s tough. Not everything is made to be minted.
Usually, if I hold onto something too long, I get bored of it, and then it doesn’t feel like it’s authentic to me anymore. There are things that I look at and say, “Oh, this is a great SuperRare piece.” And then I hold onto it too long and think, “I don't know what to do with this.” Maybe I’ll pull things from it for something in the future, but some things just don’t work out.
At this point, I’ve released about 4,000 NFTs over three years. And the biggest thing I’ve learned is, as long as I am genuinely proud of it, and I believe it has a purpose, I think it deserves the light of day.
It’s possible that when I decide a piece is finished, there’s a different version out there in the multiverse that sells at a higher price. That’s fine. As long as my piece is positively contributing to someone’s life, it’s worth something.
Elle
You’ve mentioned that the artist Don Hertzfeldt is a big inspiration for you because of his simplicity and humor. I’d love to know more about his influence on your style.
You’ve mentioned that the artist Don Hertzfeldt is a big inspiration for you because of his simplicity and humor. I’d love to know more about his influence on your style.
Bryan
I became a big fan of Don in high school because he showed me how art can be simple and silly — and still have something important to say. His art is mostly stick figures, but there’s something about them that makes people think.
I became a big fan of Don in high school because he showed me how art can be simple and silly — and still have something important to say. His art is mostly stick figures, but there’s something about them that makes people think.
Bryan
That changed the game for me. It empowered me to take myself seriously, even if my art was composed of silly characters, colors, and simple lines.
Once I started working in animation, I could see that prejudice against simplicity flared up again. People might snub their nose at animation versus film or photography — the same way comedians might not get the same recognition as actors. Animators are seen at a lower level like their work is inherently for kids. But I’ve realized along the way that comedy is one of the most efficient tools for communication. With SNL or Fallon for example, my animations were using comedy to educate. It’s saying, "Here are the current events, we're going to make funny moving images to represent it, but you're going to walk away knowing more about what happened."
When I started making my own art, the same principle applied. I wanted to express my thoughts, my emotions, and my opinions in a way that wasn't necessarily going to put people in a defensive stance. It can be daunting to have those conversations about thoughts and feelings. I just wanted to make people smile — to make it comfortable for them to look inward.
That changed the game for me. It empowered me to take myself seriously, even if my art was composed of silly characters, colors, and simple lines.
Once I started working in animation, I could see that prejudice against simplicity flared up again. People might snub their nose at animation versus film or photography — the same way comedians might not get the same recognition as actors. Animators are seen at a lower level like their work is inherently for kids. But I’ve realized along the way that comedy is one of the most efficient tools for communication. With SNL or Fallon for example, my animations were using comedy to educate. It’s saying, "Here are the current events, we're going to make funny moving images to represent it, but you're going to walk away knowing more about what happened."
When I started making my own art, the same principle applied. I wanted to express my thoughts, my emotions, and my opinions in a way that wasn't necessarily going to put people in a defensive stance. It can be daunting to have those conversations about thoughts and feelings. I just wanted to make people smile — to make it comfortable for them to look inward.
That changed the game for me. It empowered me to take myself seriously, even if my art was composed of silly characters, colors, and simple lines.
Once I started working in animation, I could see that prejudice against simplicity flared up again. People might snub their nose at animation versus film or photography — the same way comedians might not get the same recognition as actors.
Animators are seen at a lower level like their work is inherently for kids. But I’ve realized along the way that comedy is one of the most efficient tools for communication. With SNL or Fallon for example, my animations were using comedy to educate. It’s saying, “Here are the current events, we're going to make funny moving images to represent it, but you're going to walk away knowing more about what happened.”
When I started making my own art, the same principle applied. I wanted to express my thoughts, my emotions, and my opinions in a way that wasn't necessarily going to put people in a defensive stance. It can be daunting to have those conversations about thoughts and feelings. I just wanted to make people smile — to make it comfortable for them to look inward.
Elle
What do you hope people take away from your work when they see it?
What do you hope people take away from your work when they see it?
Bryan
I think most people will look at my art and say, "Oh, that's fun." Or, “Oh, that’s cute.”
Which is wonderful, but I hope that they take the time to see more than just the smiley faces. There’s a deeper meaning to everything I mint. Hopefully, it makes them consider what's happening in the space, be inspired by the creative process, or look deeper into themselves.
That’s what makes art important — it prompts us to ask certain questions about ourselves and the world around us. I’m asking myself these questions every day, and they come out in my work. If I’m doing this right, then the people who view my work will also start to wonder what it means. Everyone will create their own interpretations, and I think that’s beautiful. There are a million different ways to look at a piece. I just hope that whoever’s looking sees something that sticks with them.
I think most people will look at my art and say, "Oh, that's fun." Or, “Oh, that’s cute.”
Which is wonderful, but I hope that they take the time to see more than just the smiley faces. There’s a deeper meaning to everything I mint. Hopefully, it makes them consider what's happening in the space, be inspired by the creative process, or look deeper into themselves.
That’s what makes art important — it prompts us to ask certain questions about ourselves and the world around us. I’m asking myself these questions every day, and they come out in my work. If I’m doing this right, then the people who view my work will also start to wonder what it means. Everyone will create their own interpretations, and I think that’s beautiful. There are a million different ways to look at a piece. I just hope that whoever’s looking sees something that sticks with them.
I think most people will look at my art and say, “Oh, that’s fun.” Or, “Oh, that’s cute.”
Which is wonderful, but I hope that they take the time to see more than just the smiley faces. There’s a deeper meaning to everything I mint. Hopefully, it makes them consider what’s happening in the space, be inspired by the creative process, or look deeper into themselves.
That’s what makes art important — it prompts us to ask certain questions about ourselves and the world around us. I’m asking myself these questions every day, and they come out in my work. If I’m doing this right, then the people who view my work will also start to wonder what it means. Everyone will create their own interpretations, and I think that’s beautiful. There are a million different ways to look at a piece. I just hope that whoever’s looking sees something that sticks with them.
Elle
Lastly, why web3? Why NFTs? What is your purpose in being here?
Lastly, why web3? Why NFTs? What is your purpose in being here?
Bryan
This space is a culmination of everything that I've enjoyed in life.
It's a mixture of social media, which I've always loved using to connect with others, whether it's MySpace, Facebook, LiveJournal, or Tumblr. It's also nerdy and technical — and I'm a big gamer/software guy so I love that aspect. And on top of it all, it’s the first place I’ve been able to turn my art into a career without working for anyone else.
I can finally sell my animations. I can finally make content in a short format. No more five-minute-long film festival pieces — I can make a five-second story that says everything I need it to. And I can do it without someone else’s approval. If I have that opportunity, it’s my job to squeeze as much potential out of it as possible.
That means making art that others can learn from — or lean on — depending on the meaning. It means producing my best work for the people who have supported me.
When I joined the space, I saw artists like Sarah Zucker, who collected one of my early pieces, and Coldie, who had over a hundred SuperRare pieces, and I saw that they were taking the money they earned and using it to reinvest into other artists they believed in. That was awesome. And that’s what makes this space so exciting. I don’t think the value of a piece necessarily comes from the market. It comes from the ability to invest in each other's success — to support this opportunity we all have to create something meaningful.
That’s why I am always looking for ways to improve. I want the people that invested in me to be rewarded in return — whether that comes in the form of an engagement ring, a trip with their child, or simply, a piece of art they feel they can relate to.
This space — and the people in it — have given me the gift of everything I’ve been building towards.
My goal is to give them my everything back.
This space is a culmination of everything that I've enjoyed in life.
It's a mixture of social media, which I've always loved using to connect with others, whether it's MySpace, Facebook, LiveJournal, or Tumblr. It's also nerdy and technical — and I'm a big gamer/software guy so I love that aspect. And on top of it all, it’s the first place I’ve been able to turn my art into a career without working for anyone else.
I can finally sell my animations. I can finally make content in a short format. No more five-minute-long film festival pieces — I can make a five-second story that says everything I need it to. And I can do it without someone else’s approval. If I have that opportunity, it’s my job to squeeze as much potential out of it as possible.
That means making art that others can learn from — or lean on — depending on the meaning. It means producing my best work for the people who have supported me.
When I joined the space, I saw artists like Sarah Zucker, who collected one of my early pieces, and Coldie, who had over a hundred SuperRare pieces, and I saw that they were taking the money they earned and using it to reinvest into other artists they believed in. That was awesome. And that’s what makes this space so exciting. I don’t think the value of a piece necessarily comes from the market. It comes from the ability to invest in each other's success — to support this opportunity we all have to create something meaningful.
That’s why I am always looking for ways to improve. I want the people that invested in me to be rewarded in return — whether that comes in the form of an engagement ring, a trip with their child, or simply, a piece of art they feel they can relate to.
This space — and the people in it — have given me the gift of everything I’ve been building towards.
My goal is to give them my everything back.
This space is a culmination of everything that I’ve enjoyed in life.
It’s a mixture of social media, which I’ve always loved using to connect with others, whether it’s MySpace, Facebook, LiveJournal, or Tumblr. It’s also nerdy and technical — and I’m a big gamer/software guy so I love that aspect. And on top of it all, it’s the first place I’ve been able to turn my art into a career without working for anyone else.
I can finally sell my animations. I can finally make content in a short format. No more five-minute-long film festival pieces — I can make a five-second story that says everything I need it to. And I can do it without someone else’s approval. If I have that opportunity, it’s my job to squeeze as much potential out of it as possible.
That means making art that others can learn from — or lean on — depending on the meaning. It means producing my best work for the people who have supported me.
When I joined the space, I saw artists like Sarah Zucker, who collected one of my early pieces, and Coldie, who had over a hundred SuperRare pieces, and I saw that they were taking the money they earned and using it to reinvest into other artists they believed in. That was awesome. And that’s what makes this space so exciting. I don’t think the value of a piece necessarily comes from the market. It comes from the ability to invest in each other’s success — to support this opportunity we all have to create something meaningful.
That’s why I am always looking for ways to improve. I want the people that invested in me to be rewarded in return — whether that comes in the form of an engagement ring, a trip with their child, or simply, a piece of art they feel they can relate to.
This space — and the people in it — have given me the gift of everything I’ve been building towards.
My goal is to give them my everything back.
Elle
Thank you, Bryan.
Thank you, Bryan.
Bryan
Thank you.
Thank you.
About
Welcome to Subject Matter, a publication from Layer, where art and purpose intersect.
Art is a reflection of the human experience — a medium through which we explore our thoughts, emotions, and ideas. But in the fast-paced world of social media and NFT marketplaces, it's easy to forget the value of art beyond it’s aesthetic appeal. Subject Matter aims to remind us.
Stay updated
© Layer, Inc
2023
About
Welcome to Subject Matter, a publication from Layer, where art and purpose intersect.
Art is a reflection of the human experience — a medium through which we explore our thoughts, emotions, and ideas. But in the fast-paced world of social media and NFT marketplaces, it's easy to forget the value of art beyond it’s aesthetic appeal. Subject Matter aims to remind us.
Stay updated
© Layer, Inc
2023
About
Welcome to Subject Matter, a publication from Layer, where art and purpose intersect.
Art is a reflection of the human experience — a medium through which we explore our thoughts, emotions, and ideas. But in the fast-paced world of social media and NFT marketplaces, it's easy to forget the value of art beyond it’s aesthetic appeal. Subject Matter aims to remind us.
Stay updated
© Layer, Inc
2023