Speaker 1: GM, this is Boone and
you're listening to the

Schiller Curated Podcast.

This week's guest is Thomas
Stokes III, a multidisciplinary

artist who primarily specializes
in surreal portraiture

paintings.

In this episode, we chat about
why he creates and spent a great

deal of time unpacking his
unique style, including the

psychology behind his paintings
and his art history inspirations

.

Lastly, we discuss the nuance
of physical works in a digitally

native community, and I get
vulnerable and share a deeply

personal connection to one of
his pieces.

As always, this podcast is for
entertainment purposes only and

Shnavi relied upon for financial
advice.

Boone and guest, my own NFTs
discussed.

Now it's time to grab some
coffee and dive into this

conversation with Thomas GM.

Good afternoon, shnavi.

How are you, sir?

Speaker 2: I'm doing pretty good
, pretty good.

How are you?

Speaker 1: Doing good man.

I know your meeting fellow
Texas residents is a rare

occurrence, so I know it's
supposed to get like 100 degrees

here in Austin or a little bit
closer to that.

So it's nice to finally have
someone who understands the pain

.

Speaker 2: Yeah, i'll definitely
be staying indoors, yeah.

Speaker 1: Yeah, are you Texas
native.

Speaker 2: Yes, pretty much
lived here all my life, got it

So far.

I was thinking about, like I
want to say, two years ago,

moving to New York, but it's
still like I'm still on the

fence about that, but I do like
visiting.

Speaker 1: Yeah, What would you
say is like preventing you from

moving there.

Speaker 2: It just seems
expensive.

Honestly, it's the main reason,
totally, and I have family here

too, so I've never lived far
away from family before And,

yeah, i haven't really
experienced that, so I don't

know.

Speaker 1: Yeah, it's expensive,
that's for sure, and it is

strange not being around family,
you know.

So valid concerns, especially
coming from Texas, where it's

like you probably have a pretty
affordable living, where you're

like Texas is pretty affordable
compared to New York.

But I appreciate you coming on,
you know, and coming on

spending your time.

I've been a big fan of your
work for I don't know how long,

i don't know when I first came
across your work, but it's been

fun to kind of deep dive and
explore and wanted to do a

little bit more of that with you
in person, because I don't

really see a lot of work like
yours on the time.

I don't think I've seen
anything like your work, the

style in which you create, and
so it's just been my thing that

I like understanding the person
who creates the things that stop

me from scrolling on Twitter.

Speaker 2: Cool, thank you, and
thank you for having me on here.

Speaker 1: Yeah, absolutely man.

So I guess we'll just kind of
start off with a.

You know, you have a obviously
a very unique style, very unique

way about going about things.

But more importantly I think
we'll get to that a little bit

later but I would love to
understand, kind of why you do

what you do.

You know, why do you create?

What does it do for you?

Why do you keep doing it?

Speaker 2: Let's say in a broad
sense.

I feel like it helps me fulfill
this inner purpose that I feel

inside.

Creating for me can be
therapeutic And, of course, a

way to express myself.

And you know, if I go long
breaks in between creating, i

sort of lose my sense of
direction, if that makes any

sense.

So yeah, making art helps me
feel grounded and helps me from

feeling sort of I guess you
could say stagnant.

I don't know, it's like a, like
a locomotive, it just keeps me

going, you know.

Don't know if that made any
sense, but yeah, that's how I

feel about it.

And like, when I first started
making art it was drawings.

So that was something I started
like way back in grade school

And just drawing in class and in
out of school.

And then after high school I
started painting and took what I

learned through drawing and you
said to help me make paintings.

And here I am now.

Speaker 1: That kind of
emptiness that you've had

without creating.

Was that discover, like?

how long ago was that
discovered?

So you mentioned like in high
school, was that?

did you discover it younger or
was that when you kind of just

started?

Were there any other types of
ways that you tried to fill that

creative void?

Or just to fill that void?

I should say I think I say that
to say I think, like you know

every person, at least for me,
growing up I felt that kind of

pit.

You know where it's like.

What is what am I supposed to
be doing here?

You know like I kind of feel
empty.

Speaker 2: I think there's some
point in high school, because I

feel like during all of our
lives being in high school, as

if you go through that period
where one chapter of your life

is ending and you begin another
chapter and you sort of

wondering what do I do next?

What is for me?

And it was during that period
where I really felt like art was

was me, in a way, and that it
was something that I felt like I

needed to do.

And that's, i say, where it
began.

Speaker 1: I mean, there's a I
had a hard time figuring that

out myself, you know, so it's
it's cool to kind of hear that

and to feel that back And it
sounds like a natural fit And it

sounds like correct me if I'm
wrong, but it sounds like you

kind of just like, once you had
that, you just dove right in.

But were you always kind of
fascinated with art as a kid?

Like, did you go to a lot of
museums?

Are your parents like,
naturally like, are your parents

artists as well?

Speaker 2: I was always
interested in it.

I don't even remember, like
from the very beginning, what

piqued my interest in it
specifically, but I always found

enjoyment in it.

My mother had a little bit of
an, i guess, artistic background

, and what I mean by that is
that she like enjoyed drawing,

specifically, i think, on paper,
And I don't remember if she

kind of brought me into it or
not, but I think she was

possibly an influence when I
first started.

Speaker 1: And have they like,
have they been pretty supportive

of your journey so far?

Speaker 2: Oh yeah, definitely.

That's something I feel
fortunate about and grateful for

Nice.

Speaker 1: What do they think
about Web three?

Speaker 2: What do they think
about it?

I think they're probably still
confused about it Because I

guess from the outside they
might seem confusing for other

people, for different age groups
and stuff like that.

Like my grandparents, they
totally don't get it, but

they're supportive of me, So I
mean, yeah, overall it's like

positive.

Speaker 1: That's good.

Yeah, it's hard for that
generation, i think, or some of

the older generations, to really
have it click, unless you just

have a really keen interest on
like being at the edge of

technology and you know, it's
kind of a learning curve.

I've spent a lot of time with
my mom helping her understand it

, and she's finally coming
around.

She's got a wallet, she's got a
few NFTs herself, so getting

her more involved it's a process
, though, and that's cool to

hear that though.

Yeah, did you go to school for?

Speaker 2: art Just went to
community college briefly And

then I guess you can say,
dropped out.

I did take one art class while
I was in there, but it was like

the beginner's painting class
and it was okay.

But yeah, i'd say the only
times when I took art classes

was throughout grade school,
like as a funny elective, and

then that one college course.

But I feel like I'm mostly self
taught because there was a

large gap between when high
school ended Not a large gap,

but there was a gap between
where high school ended and when

I started painting And then to
when I took that class.

And then by then I felt like I
had already I don't want to say

develop my style, but I felt
more confident, like the things

that they were teaching in that
class for the most part felt

like I already knew.

So it's just like a fun
classroom, sorry to describe it.

Speaker 1: It's really it's.

No, it's.

I'm I dropped out of college
too.

I just don't think college is
for everyone.

But it's also fascinating, you
know, because I always try to

approach everything with a
beginner's mindset around

everything, to like there's a
lot more for me to learn and

that, for the most part, serves
it.

But it's kind of a strange
balance when the closest thing I

can relate to with your story
there is like when I started

podcasting all of the articles
and the blogs and the courses

and the videos, they never quite
clicked for me.

It just never seemed like the
right way to do it And I was

like, am I wrong for doing this?

Like I don't think, like it
doesn't.

I tried it, you know, i tried a
few things that they, that they

suggested, and but it just
overall it felt incredibly just

off And I felt like a lot of the
tutorials and tips and tricks

just felt like it was trying to
dehumanize, trying to make the

podcast like podcasts, like
super robotic and super rigid,

and I was like, man, i don't
fuck with that, like I just

don't vibe with that.

So it's really cool to kind of
hear that you're self-taught and

you kind of just found your own
way.

I mean, did you learn?

was it just YouTube that you
found all of your information?

or, like, how did you end up
teaching yourself?

Speaker 2: Yeah, some of it was
from YouTube.

Also, before I started painting
, i had experience with drawing

and, like in high school, i
would make almost photorealistic

drawings of people and of eyes
and stuff like that.

And so I've started with
acrylic paints and I still use

acrylic paints.

But, yeah, there are things,
some things I learned from

YouTube, but also I feel like
the way I paint is a little bit

in some ways non-traditional, so
things I wouldn't see on

YouTube.

So like I started using my
acrylic paints almost like they

were watercolors, because I had
small tubes and I was trying to

save my paint and save my money
and I would do like

underpaintings before I even
knew formally what those were

called.

Yeah, so a lot of processes
taking what I knew through

drawing and sort of blending
that with new painting

experiences.

That's how I would describe it.

Speaker 1: That's fascinating.

I mean I don't think I've quite
heard that Heard that before

kind of just sounds like you
found your comfort zone or found

your rhythm and just rolled
with it and evolved that

individual style.

How would you describe your
style?

Like if you were to put a name
to it, how would you describe it

?

Speaker 2: Surreal slash,
fragmented portraiture with like

sculptural elements to it.

Sorry, i would describe it.

Speaker 1: And what is when you
say fragmented like what does

that kind of mean?

Speaker 2: So this isn't all of
my work, but I'm sort of I like

the idea of taking the human
head or the face and trying to

artistically do as much as I can
with it.

So I'll have it either breaking
off like somewhere, or have

forms missing, and so that's why
I use the word fragmented,

because they're broken or
there's a sense of like

destruction within the piece is
how I see it.

Speaker 1: And I guess, why
focus on just drilling down on

this, like, why, like, why?

destruction?

You know what's the goal of
that, or why is that something

that you choose to focus?

on or you want to communicate?

Speaker 2: I don't know.

There's something kind of fun
about making them, where it's

like making something and then
doing something or taking

something away from it.

In this case it would be like
painting a head or a face and

then obstructing some parts of
it or having some parts missing,

and that kind of goes into how
I paint technique wise with my

acrylics and how I remove paint
from certain areas and then

reapply over and kind of do that
in layers.

So it's like this philosophy
and how I make my work and then

the types of figures that I make
, if that makes any sense.

Speaker 1: Yeah, no, it
absolutely does.

I mean and that kind of leads
me into the question I was gonna

ask before that is there often
feels like there's multiple

people in one head or in one
sculpture?

Is there kind of like a split
personality idea that you're

trying to communicate, or like,
is there an element of human

nature that you're trying to
communicate with that?

Speaker 2: Trying to put into
words.

Speaker 1: Yeah.

Speaker 2: Definitely there's at
times like split personalities

or a sense of indecisiveness
that I try to portray in my

works, because as an artist, i
feel like I'm pretty indecisive

and picky about things, and it's
good back to the process.

But I like, whenever I'm at the
drawing board for something, i

kind of find enjoyment in trying
to put multiple faces within

the space of the head And just
seeing what I can do with it.

Also, when I first started
painting some of my influences

or, like George Condo, and his
main influences Picasso.

So those two kind of go hand in
hand.

And when I first started I was
making more Picasso's influenced

works.

But the sort of psychological
feeling that I get from looking

at works like that, i tried to
carry a similar feeling within

mine.

So I would describe some of
that So, yeah, like overall, i

definitely want there to be like
this psychological impact in my

work.

And as far as specifics go, i
try to for each piece, kind of

leave that up for the viewer how
they interpret it, interpret

the exact meaning behind it.

Yeah, there's definitely a lot
to interpret.

Speaker 1: I know I've chatted
with a friend or two around some

of the pieces around trying to
figure out what we see and also

what you're trying to
communicate as well.

It's a fascinating puzzle that
you put out there And it's fun.

It definitely, like I said
earlier, it makes I think I

every time I come across one of
your pieces like that it just

kind of makes me stop and
contemplate, like sometimes I

don't even know what I'm
contemplating, but I'm just kind

of stopped And I'm just kind of
like I don't even.

Sometimes I don't even know
what I'm contemplating, but I'm

just kind of stopped and looking
at it And I haven't really

quite found the words yet.

So I'm sure I will in the
future.

That's cool to hear In a world
where, like, our attention spans

are getting smaller and smaller
with the information we consume

.

It's always kind of a nice
break, it is.

I guess I'm where I'm at with
that right now.

Speaking of like Psychology,
was that an area of interest

ever since you were young?

What's kind of the fascination
with approaching things with

that lens?

Speaker 2: When I'm looking at
art I really enjoy art.

That kind of Gets the shenapsis
in my brain firing, like some

examples would be Francis Bacon
for me That's like a huge.

I get this Wow sensation every
time I look at his paintings

because of the forms, of texture
and all that stuff.

To me they're psychological and
going back to when I would look

at, like George condo's work,
the idea of trying to make

portraits with them, being
Charged with some sort of

feeling when you look at them.

That's something I try to go
after with each piece that I

make.

Speaker 1: I appreciate that.

It's something that I've
learned as a recent art A

Appreciator.

You know I didn't really start
getting into this until, like I

said, 2021.

That was kind of my first Real
experience with consuming art or

interpreting art.

I was always, i know, when I
was a kid My mom would take me

to the Houston Museum of Fine
Arts and I know she told me I

enjoyed going there, but I don't
really I never really remember

pursuing it after that.

So it's fascinating to uncover
some of the concepts and the why

and the And also the
inspiration behind what you want

to.

You know, try to communicate
here.

So what, what kind of drew you?

I mean, you seem like someone
who thinks, thinks through a lot

.

So like, what, what kind of
drew you to web3, you know, like

, how did you find it?

What was kind of that initial
like I guess I'm curious about,

like, what made it click for you
at?

Speaker 2: the time I'd seen two
of my artist friends, fulvace

and Jonathan wool.

They had gotten into the space
and they were sort of, i guess,

like you could say, broadening
their horizons, and I had talked

to him about it a little bit
and actually did a little

podcast with them, and And also
prior to this I hadn't made

digital artwork at all, really,
and so a lot of the stuff that I

saw that was being, i guess you
could say, sold with digital

art, so that fascinated me.

It seemed that happened because
previously I there wasn't

something I didn't think was Not
possible, but it wasn't

something that was totally
normal for me.

It's hard would describe it.

So, getting into the space,
part of that, i brought my first

iPad and was sort of beginning
my journey with digital art and

creating it, and so that was
like kind of a shift for me,

artistically wise Or medium-wise
, with how I made my work and,

yes, just sort of like a new
Path that I wanted to take and

see where it went when it comes
to, i Mean, have you done any

thinking about?

Speaker 1: You know, we're
technologies advanced to the

point where we're, like we're
becoming more and more digital.

You know, as as time goes on,
how do you kind of think about

physical artwork in that sense
or under that context?

do you still You still look at,
or, yeah, i guess I guess, do

you prioritize one over the
other?

How do you kind of see it
shaping out?

Yeah, just very curious to kind
of hear, because it's a, it's a

topic that I'm constantly
Trying to learn more about,

because it's it's kind of
confusing in a certain way, you

know.

Speaker 2: Yeah, i agree with
you in 2022.

I felt like, looking back on it
, i definitely prioritized

making digital artwork and then
afterwards that kind of affected

me in a negative way.

Personally, i don't get to do
that.

I don't get as much fulfillment
working on digital art as I do

with physical paintings For me.

I feel like that's really Like I
find enjoyment in both, but I

feel like physical paintings is
really where my heart is as an

artist.

That's kind of where I feel
like I began my journey and

where I feel the most excitement
creatively when I'm working on

physical paintings.

But also Like okay, so all my
physical paintings start out as

digital sketches.

So of course, i still use like
my iPad to create all of my work

and Somewhere along the drawing
board is or along the early

sketch process, just like this
Line, where I think either this

is gonna be a physical painting
or digital painting and so I

think, like technology wise,
like Digital mediums will always

play a role with how I make my
art, regardless of if it ends up

being physical painting or
digital painting.

Yeah, that's where I am right
now.

Right now, i'm Currently
prioritizing making physical

paintings because I I feel like
I had taken too long of a break

from that because I was making
digital art, and now I'm trying

to sort of Looked in myself,
feel like I'm Catching up to

where I should be with my
physical art.

Speaker 1: Got it, got it.

I appreciate you saying that
it's a.

I feel like it's a question
that no one can fully answer

except for what feels right for
them, as you, as you mentioned,

you know, yeah, it's, it's
something I've constantly

thought about and you know I'm
obviously in an apartment and

Physical like, i feel like with
physical art, i really have to.

There's a lot more that goes
into it for me personally as a

collector, you know, because
it's like How big is this

physical piece?

I'm constricted by space, but
not only that, and fungible

laugh to me for this but I, i
framed You know, i'm a big tool

fan and the band and I framed
These like $60 posters and like

a $400 frame, you know.

And so You know I, i would do
the same thing for a print or a

paint, you know find some way to
display it really nice.

So like when I, as a collector,
by a physical artwork, there's

it's not just the physical
artwork and outside of the time

constraints Or not, not time
constraints, but outside of the

physical constraints it, i have
to consider, like I don't buy a

physical unless I consider The
cost of framing it and making it

look nice Included.

So that's also a huge hindrance
, you know, to me.

So it's like when I look at a
physical piece, it's like okay,

like I guess in a sense is a
good thing because it really

forces me to to Connect with the
piece on a on a deeper level,

or I guess it forces me this, it
incentivizes me, i hate, i

don't, you know.

It incentivizes me to spend
more time with it, which you

know for, and I think rightfully
so.

So it's just something that I'm
always very curious about and I

have a few physical pieces that
I've yet to frame yet.

But Yeah, it's always an
interesting conversation.

Speaker 2: Yeah, i do understand
that a lot.

There are, like of course, with
physicals, more like factors

before and after acquiring the
piece that need to be thought

about, like I'm glad you brought
that up because that's

something I think about too.

Like I have some prints from
artists and I do have some

framed, but I just have them
like leaning against other

things.

I haven't actually, because I'm
in an apartment, put them on

the wall, it's just.

You know, i've been here for a
while, i use them as I look at

them, like they're on display,
just not exactly on the wall.

But I'm glad you brought that
up.

Speaker 1: Yeah, it's
fascinating, and I just don't

think that if I've learned, if I
learned anything from NFT and

YC, it's that physicals, if
displayed right, are still very

much in demand.

It's not that digital art
replaces physical art, because I

just looked at, i looked at
like the I'm not sure if you

went to the Babylon event, but
do you remember that one?

Speaker 2: I don't know I didn't
go.

I should have gone, though I
got so burnt out during that

trip.

Speaker 1: Yeah, yeah, it was a
lot.

It was, it was a lot.

Was that your first time going?

Speaker 2: No, it was my third
time.

Third time.

Speaker 1: Okay, you've been one
more than me.

My first time was in.

I didn't go in 2021, just
because I didn't know really

anyone And I knew people but I
just it kind of felt silly for

me to go.

I just didn't really have a
group of people I wanted to hang

around with.

But, yeah, it was an
interesting event because it was

.

It really went to show that like
there is a lot of merit in

physical alongside digital,
because they did a really good

job of mixing.

You know, they had great
digital displays but it was

displayed really well, like the
digital displays had a lot of

space in between them, which I
think was really nice, you know,

because a bunch of screens
together it just doesn't.

It just kind of looks.

It just kind of looked tacky,
But there was a great blend of

physicals that were obviously
digitally owned, you know, via

an NFT in it.

I just thought it was really
cool And so for me it was a good

.

I guess it was a good refresher
or a good epiphany, because in

my opinion, i think screens are
still so far from like being

good enough and accessible
enough like those two things to

display, because you have the
damage displays right.

It's like you know those are,
but those are also like $30,000

display displays And it's like,
yeah, like no one's gonna be

buying that, you know, outside
of Sotheby's and Christie's,

like those are not really
reasonable displays.

I mean it'll get there, but
it's just to me it's not really

there yet.

Speaker 2: So yeah, definitely
The Babylon that wasn't at the

Canal Street right.

Speaker 1: No, no, no, that
wasn't there.

It was near there, but it
wasn't.

It wasn't there.

Speaker 2: Okay, i should have
gone.

That's cool that they had a mix
of physical artwork and digital

display there.

It's good to hear.

Speaker 1: Yeah, yeah, they had
some.

they had a couple of ACK pieces
, they had some Tejo pieces,

some Otherworld you know, and
those just looked really good,

beautifully framed, you know,
curated really well next to each

other.

It just looked really good.

Yeah, we actually met speaking
of physicals as well, though, as

we linger on this topic that we
actually met at the Canal

Street event, and it was really
cool, because getting to see

some of your work that I've seen
online in an in-person format

was definitely an entirely
different experience.

I think the comment I kept
making to you in afterwards was

that there was just another
layer, there was an entirely

different perspective.

There was an entirely different
perspective of depth that you

just don't get digitally, that
you only get physically, or at

least for me personally.

Speaker 2: Right, yeah, that's
cool to hear.

I hadn't looked at that piece
since, like I think it was 2021

when I sold it.

So, like for me it was cool
seeing it again because it's

like you said, because I refer
to my past work.

When I'm working on paintings,
i sort of like have like a mood

board of other things inspire me
and then I have a mood board

that has my work that I draw
inspiration from and that I like

, and that the picture of that
piece was in there, and then I

look at it somewhat frequently
when I'm working on art and

seeing it in person and again
after such a long while, it kind

of brought back memories from
when I was working on it.

It was a pretty cool experience.

Speaker 1: Would you say that
one specifically and that one,

and maybe are there any pieces
that you have that kind of

represent like a turning point
in your career as an artist,

like a moment where you kind of
discovered something new or it

kind of changed the trajectory
of what you wanted to do?

Is there any works that come to
mind that have that One?

Speaker 2: is Hedgehog's Dilemma
, that turquoise and purple work

.

That was the first painting
where I had mostly used an

airbrush to do those hues and
gradients.

That, like, made things a lot
easier because, rather than

trying to achieve the smooth
gradients with the brush, i was

using the airbrush to do those
and it helped with my efficiency

with creating works like that.

And for me, i think, looking
back at my works previous to

that, the color palettes were
very, you could say, muted.

overall, i think acquiring an
airbrush And I think I was using

inks at the time to throw like
vibrant inks that I bought.

But I feel like that was a
turning point with how I would

use color in my work and
vibrancy was something that I

felt like had gone up since then
.

But I'm trying to balance it
too, because I still enjoy muted

color palettes with some hints
of vibrancy here and there.

I'd say overall that was a
turning point.

Speaker 1: I say that because,
as I go back and listen to

recordings and different things
that I've done, there was like

some clear moments where it was
like, oh, something shifted here

, Whether it was indulging my
curiosity more, allowing myself

to have more of an intellectual
debate, or allowing myself to

let my imagination run wild.

There was a lot of different
things.

So it's cool that you have that
And I have your page pulled up

here on the side where it's like
you can definitely see like

once that happened there was
like that and then anemesis and

then rebirth And then it seems
like butterfly dream is kind of

where that's.

You started to kind of keep
that vibrancy, but there was a

return to some of the more muted
colors.

Speaker 2: Oh yeah, yeah, That
one was interesting.

That was a physical painting
And then I had it photographed

And then I the blue background
that you see there, that's

digital.

So there were also some other
things that were digital in it.

But yeah, that was a the first
time I had, like, really drawn

over a painting that I had made,
so that was kind of fun.

Oh, another turning point I
think is I forget when, but I

found online like a 3d head
model where you can change the

lighting.

So I started using that as a
reference to get lighting in

particular ways and to have it
be accurate.

So I would paint the lighting
that I would like screenshot

from positioning or from moving
the head around, so I can get

specific lighting scenarios or I
guess you could say moods to

have the faces.

And that was a kind of a shift
for me or like where I started

incorporating lighting into my
work to give it more depth,

because I feel like, going back,
at certain point, things were a

little bit more flat with, like
, some of my older physical

works and not that they're worse
or anything, because I think

there's right places for things
like that.

I think that was something that
and I still use it somewhat

frequently.

Helps me with lighting and
shadows.

Speaker 1: That's really
interesting.

So the piece that I let get
away personally, that I want to

know more about, is born from a
wish.

I remember seeing that piece as
you were creating it and like

from all the BTS videos, and
just for me it resonated very

personally and obviously I'm
happy that you know out of

anyone who collected it it was
Ben Zank, but I was also kind of

mad at Ben because I didn't get
it.

So it's a.

It's a.

I'm angry but I'm also glad.

So I would just love to know
like obviously I know how it

affects me personally, but this
seems like a really.

This seems incredibly in Depth.

There's a lot going on here And
so I would just love to know

And of what type of emotional
state were you in when you were

creating this?

or was there a?

was there a Guess?

what is it?

What does this represent or
what did this represent, and why

did you want to do this?

Speaker 2: Oh, there's a like a
bunch of things.

I'll try to categorize them in
my head and Explain them.

I don't remember exactly when I
started it, but for me, um, i

Wanted to.

I don't know if you can see
this within the faces of the

Figures, but they're kind of
like more anime inspired with

how they look, mmm, like their
side profiles and stuff like

that.

But I wanted to illustrate to
people who kind of look like

they were like longing for each
other or sort of Embracing one

another, whether it would be
positive or negative, and that's

where you have the two people
Come together and when it's

having another one.

But I think, color-wise, i
Primarily used my airbrush to do

most of the piece, except for
the black figure that you have

there.

But I Think when I was making
that piece I was like I want to

see like how much I can do with
the airbrush and see where I can

take like the Vibrance in my
work, because I feel like that

was like that physical, why it's
like the height of I Mean what

to call it like a vibrancy
journey or whatever Roses trying

to like push colors as much as
I could in my physical paintings

.

I didn't make a tweet about
this, but There's this book.

Have you watched them?

You know what even Galeon is I.

Speaker 1: Feel like I've heard
the name, but I would be lying

if I told you I knew exactly
what you're talking about.

Speaker 2: Oh, i have this art
book of one of the artists who

did, like some of the I think
it's a manga artwork.

His name is Yoshi Yuki Sadamoto.

I Started flipping through the
book and The way that some of

its illustrations were kind of
made me want to make a piece

that I Would get similar
feelings from, and so there's a

particular illustration of One
of them, x, where it's like

shedding its robotic parts and
there's pieces kind of flailing

in the air, and I Already, like
included what I said earlier,

which was like a sense of
destruction in my works with how

the, the figures and forms are
breaking away from each other,

and I wanted to do to people
kind of Embracing each other,

but then between them I included
that face that you see above

there.

Yeah, i wanted them to feel all
like they were interconnected,

like they could be all part of
something, like the moons that

you see above the figures.

I was like that last thing that
I added in the piece.

I'm really glad I added those
Because, compositionally, what

was actually like they Complete
the piece, having something,

some forms up there and it being
the moon phases.

I Want to do that more often.

Speaker 1: It's, it's fantastic,
i mean it.

Yeah, i remember when you had
released it It was probably

still to this day is is probably
my favorite.

There's just a part that It's a
.

It's very personal because the
way I interpreted it and the way

that made me feel, or what that
reminded me of, is, my parents

told me that they had tried
really hard To have to have kids

and it wasn't the easiest.

And she remember, i remember her
telling me that it was like It

was a.

They were kind of like Feeling
a little hopeless and then it

was like and it finally happened
and that was kind of, yeah, so

like, for me It's like
incredibly personal.

It's very emotional because
it's like the way I view that is

, it's two people that are
together and then there's

something that's born from those
two people.

And it was born from a wish,
because she mentioned that she

had like prayed and she was like
wishing and she was, you know,

or they were both.

You know it wasn't just my mom,
but yeah, that's definitely why

for me, it has a lot of, i
guess, meaning is the right word

.

Yeah.

Speaker 2: Well, thank you for
sharing that.

Absolutely What.

When I was working on it, i
think I posted it on Twitter I

Used a stuff called Frisk it
film, because when you use it,

when you use an airbrush, it
kind of gets everywhere.

It's like a spray.

Can I Used first good film to
like block in all the I don't

know what to call them the
phrase between the pieces

Connecting them, Mm-hmm, that
was like a first time for me

doing that.

Yeah, i Wanted there to be this
feeling of connection, books,

like visually and just like an
overall feeling when looking at

the piece.

So I'm glad that, or I'm happy
that it was able to how to put

this like?

I know that you like felt
something When you're viewing it

totally, man.

Speaker 1: I was debating on
whether I was gonna share that,

because it's incredible.

Obviously, it's incredibly
personal, but yeah.

Speaker 2: Yeah, I thought I saw
him like awkward about it.

No, it's okay.

Speaker 1: Uh, okay, it's super,
it's, yeah, it's super, super

heavy, you know.

And so, yeah, definitely It.

Uh, it made me question whether
I you know whether I just I

made a Questionable financial
decision to pick it up or not,

but ultimately I decided not to.

You know, i've made a few
questionable financial decisions

in my life.

I'm just not trying to go back
there.

I'm not trying to go back there
.

Me too Did you ever share the
piece with them?

you know, i haven't, i Haven't
and it was gonna be one of those

pieces that and it.

I say it's gonna, it was, or
speaking as something's like in

the past tense, but if there's
ever an opportunity to snag that

from Ben Secondary and whenever
time frame, that, that would be

that's.

It's one that would kind of go,
because the way I view, you

know kind of Segueing a little
bit back into web 3 and

technology and stuff like that
is that I've been looking at,

obviously, you know, being in
the art world now I've been

exposed to, you know, collectors
in both the physical sense, the

crypto sense, the blend of the
two, with like all these auction

houses learning about the
history of different collectors

and like how they, like how they
went about doing things.

And There's this piece and one
other that's unmented, from From

summer, from summer Wagner,
that would probably go in like a

Private collection or like a
no-sus safe or like this one

would be like a start of like a
family private art collection Is

because it it involves everyone
in my family, or at least in my

immediate family, you know, and
so did the other one from

summer, so it like that's kind
of what I was imagining.

But My mom does listen to this
podcast, i don't know how often,

but I will Obviously recommend
this one because it might be a

way to.

I think part of it's
challenging because, like I just

don't know how to bring that up
, you know, like I just don't

know how to.

You know, i guess just the
opportunity hasn't been there

where it and it may never be
there where it just like it may.

It's probably one of those
topics of conversation that like

you're going to talk about it
or you're not, or it's going to

get brought up or it's not, but
it doesn't really kind of flow

into any, you know, uh.

Speaker 2: Yeah, I don't know.

I kind of thought about it like
that.

Speaker 1: Right, i try to.

I try to be tactful when I
bring certain things up, you

know, and this one is one of
those ones where I just don't

know how you would do that.

Um.

Speaker 2: Right Give it a
sensitive topic.

Speaker 1: It's sensitive and
it's powerful and it's uh, it's

meaningful to a lot of different
people, you know, and um, so I

guess this is the best way for
me to express that uh is with

person who created it.

Thank you again for sharing
that Totally.

Yeah, i, yeah, i'm happy that.

I'm happy that I was able to do
that Kind of starting to wrap

things up here, though, man, um,
you know, i would love to kind

of know It's already been an
hour, it's already been an hour

Why this flew by.

It, did It, did.

We'll just have to have another
one.

Um, yeah, yeah, yeah, Um.

Would love to kind of know what
it is that you're currently

working on, um, or if there's
anything that you're currently

working on or going to be
releasing soon that you'd like

to share.

Would love to give you an
opportunity to talk about that.

Speaker 2: Oh yeah, um, either
later this month or early next

month, i'll um be having a drop
on a platform.

I don't know if I'm allowed to
say what it is, but it'll either

be a one of one physical or a
very small addition.

It's still up in the air a
little bit.

Also, right now, i'm just like
finishing up physical paintings.

Um, that I may meant are
different sizes here.

Um, yeah, it's been working on
physical art.

I feel like this past two
months, um, more than I have

been a little while just kind of
getting back into my.

It's going to sound weird, but
like my 2020 mindset, where I

was like making a lot of things
and like trying to do that like

all day, all day, every day, and
then I may be in a group

exhibition that'll be in Los
Angeles, uh, in July.

Um, someone talks about that.

I want to ship a physical
painting out there so that I

could have that on display.

That's about it for the
semi-mediate future.

Speaker 1: Awesome man, it
sounds like a lot of good things

coming up and super excited to
see what you do with that, with

that platform.

It's always, uh, it's always
nice, because I, you know, on

social media you retweet a lot
of great work and then you just

like, post a banger and it's
like, you know, it's always

great to see that, um, and I
enjoy that.

I really enjoy that, because
it's just like you just share

dope art, uh, and then you're
making dope art in the

background And then when it's
time to present it, it's just

like here it is.

Speaker 2: Um, thanks.

To be honest, i haven't been on
there as much lately.

Uh, i feel like there's always
too much going on.

But yeah, I try to get on there
for, like, art or friends.

Speaker 1: You're not missing a
whole lot.

I mean, there are some, you
know, uh, there are some

important things, but there's,
there's a a lot of just

capitulation in every sense of
the word.

Um, both financially and
emotionally with some people.

Uh, so you're not missing a
whole lot.

Uh, if there was any time to
disconnect and I guess detox a

little bit from Twitter right
now would probably be the best

time.

Uh, yeah, you know.

So, yeah, you're not.

I'll.

I'd be honest with you if you
were missing much, but you're

not missing much, um, or at
least anything that's like

valuable.

I mean, there's a lot going on.

There's the value of it.

It's not that high right now.

So there are some good things.

You know, in spite of all the
shenanigans and chaos and you

know absurd behavior that is
this market in this industry.

But, speaking of social media
is there, you know.

Would Twitter be the best place
to to get in contact with you?

Where should people go first if
they want to discover more

about your work?

Speaker 2: I'd say Twitter.

I think I have more work
published on Twitter than my

Instagram because I archived the
sheet things on Instagram, but

DMs wise, i'm active about the
same on each platform in terms

of like any, questions, any, but
you may ask me, and stuff like

that.

Uh, as far as viewing my work
probably Twitter, god, i feel

like most of the space is there
too.

Speaker 1: Cool, Yeah, I mean,
I'll put all that in the uh in

the show notes and make sure
that people have a place to go

along with some of the pieces
that we spoke about, so I people

can have a little visual
reference as we're talking about

some of this stuff.

But, um, yeah, Well, Thomas,
this has been awesome.

Thank you again for coming on
and agreeing to do this, and

it's been a real treat getting
to know you and uh and chop it

up with you a little bit.

Speaker 2: Thank you Likewise,
man.

It's been cool being on here.

Thank you for having me.

Speaker 1: You're welcome.

Yeah, um, we'll go ahead and do
a quick sign off, man.

I hope you have a great rest of
your day, you too.

Man, thank you for tuning in to
another episode of the Schiller

curated podcast.

I hope you enjoyed the
conversation.

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