CSLIM, a well-known AI artist, talks about NFT use cases, rethinking rarity, and whether the market is on the decline in this Q&A.

CSLIM, a South Korean artist, has established an ecology around his NFTs, with thousands of followers.

CSLIM, a South Korean artist, joins us to talk about how he got into this fast-paced industry. He explains why NFT rarity levels may need to be reconsidered, how crypto collectibles might aid good causes, and intriguing potential use cases.

1. Greetings! What is the story behind CSLIM STUDIO… and what is your main goal?

I’m an artist with a background in engineering, and I’ve previously worked on AI, autonomous driving, and blockchain.

I became interested in the generative art genre about three years ago, and I founded CSLIM STUDIO to explore my love.

I first learned about NFTs in March 2020, and prior to that, I had been experimenting with artificial intelligence to rebuild paintings. It wasn’t for sale; it was only an object of technical interest.

When you look at the history of art, you’ll notice that as technology advances, new tools are created, and the art is richer as a result of their use. Take, for example, tube paints, cameras, and computers.

AI and blockchain have advanced fast in recent years, and the aesthetic potential of these technologies is being explored.

At initially, I didn’t have any major creative aspirations in mind; I just wanted to see how far I could push myself. It was solely for my personal amusement and pleasure. However, in the rapidly expanding NFT sector, I’ve accomplished far more than I anticipated.

I was fortunate to be invited to display two paintings at Art Basel HK in May 2022, thanks to the support of Tezos APAC. NFTs have influenced my life and I believe they will continue to do so in the future.

2. What exactly is The World’s collection?

The World is a Crypto.com NFT collection that was released in February 2022. Every month, owners of this collection will receive free airdrops for my new AI/generative art creations.

These NFTs function similarly to a ticket or subscription. Every month on the 20th, snapshots for collection holders are prepared for airdrops, and new works are given.

To keep my creative activities consistent, I created the utility ecology around The World collection, and collectors may expect new works every month for as long as I work as an NFT artist.

Thousands of people have shown their support for my work by sharing it on social media.

This ecosystem is a unique framework for collectors and artists alike, but it is one that everyone can appreciate and benefit from. As an artist, I can continue to create new pieces while minimizing market swings — and I’m free to explore while getting valuable feedback.

My army of 1,200 fans is ecstatic about my accomplishments and is always on my side. It’s always a delight to show them my latest masterpieces.

Before discontinuing The World collection, I used Ethereum NFT platforms like Makersplace, AsyncArt, and Foundation to make a small number of works and communicate with a small number of collectors.

The majority of my pieces were one-of-a-kind. I couldn’t interact with many collectors, and I couldn’t get my paintings out to a wider audience. But I was proud of my work and wanted to share it with as many people as possible.

From a different perspective, I believe I was envious of the way fandoms build around a certain artist. I reasoned that having a large number of collectors who would support me would give me a creative boost, so I devised the concept of a subscription.

3. What about trees that aren’t fungible?

I’m not an environmentalist, yet environmental issues fascinate me.

I’ve been thinking about how crypto collectibles can be developed to take a more active role in addressing environmental challenges as an artist developing NFTs.

I got in touch with the BLOCKv team last winter and we started talking about some really cool ideas.

The objective was to set up a mechanism that linked NFT purchases to actual tree planting. This was appealing because it had the potential to spark a grassroots movement to tackle global warming and climate change.

While Proof-of-Work blockchains have a poor reputation due to the resources they consume, this project had a positive connotation. It demonstrates that, depending on the application, they can have a positive impact on our environment.

In May, we began work on our nonfungible trees project.

When an NFTree (nonfungible tree) is sold in the primary market, eleven trees are planted, and 1% of the sales revenue is reused for tree planting when an NFT is resold.

When a collector buys or resells NFTs, a percentage of the selling price is settled in the backend via BLOCKv’s clever NFT logic, and the money is donated to One Tree Planted.

Through the bridge offered by BLOCKv, mint editions from one chain can be swiftly and safely transferred to another chain.

It’s the first genuinely multi-blockchain collection in the world. Furthermore, these NFTs enable the option to permanently plant as many digital trees as they have helped to plant on the BLOCKv metaverse space. This means that members of the community participate directly in the creation of installation art in a global metaverse space. Isn’t that fantastic?

4. You have a unique perspective on the utility of NFTs. Please elaborate!

Using blockchain snapshots and airdrops, the World collection demonstrated how NFTs may be utilized for subscriptions. Given the various technological possibilities that digital art may provide, this could be a significant step forward.

NFTs as a proof of ownership — which only include bits of content — do not, in my opinion, conform to the values pursued by the times. This isn’t meant to minimize or dismiss the worth of many artists’ NFTs. Since 2020, I’ve been minting thousands of NFTs, with the majority of them serving as proof of ownership of the contents. These NFTs are especially valuable because they safely and elegantly answer the copyright and ownership issues that traditional digital art had to address in a verifiable manner.

Art that uses modern technology as a vehicle, in my opinion, should expand into more creative forms, genres, and multidimensional forms. We already have the technical and conceptual foundations in place to create superior NFTs. We must all constantly consider how to take the next step ahead.

5. Have you put this principle into practice before?

Last year, 50 Polygon NFTs were dropped among the landmarks of 30 major cities around the world, using the technological stack given by BLOCKv, and a treasure hunt was organized. AR and VR could be used to locate them based on their current location.

They could then be traded on OpenSea, and it was an interesting experiment combining virtual and real worlds. For NFTs, this might be an exciting aspect of the future.

6. Can you think of any additional interesting/unexpected applications for NFTs?

NFTs, in my opinion, have the capacity to revolutionize the world. I’d like to keep designing projects like NFTrees that have a positive impact on environmental challenges. I’m particularly interested in issues of marine pollution and microplastics, so I’ve been working on an NFT project on these topics for several weeks.

What if the image’s features aren’t used to determine the rarity of NFT? How about increasing the value of the NFT if it contributes more to the environment?

NFTrees are built so that their rarity level rises in proportion to their contribution to tree planting, allowing for dynamic change. Although difficult, it demonstrates that the concept of rarity in NFTs can be relative rather than absolute.

7. What are your thoughts on the current state of the NFT industry? Is the market about to crash, as a recent Wall Street Journal story claimed?

True, NFT sales have declined significantly in both primary and secondary markets. When evaluating initiatives, I believe we should also examine characteristics such as sustainability and stability.

You may forecast how a project will grow if you comprehend inherent worth, a collection’s social purpose, and the values of the community.

I believe that projects that do not take into account the secondary market’s stability after the original sale will be forced to react to market fluctuations.

Because all markets go through cycles, the NFT market is projected to mature after a crisis, and the method of selecting gemstones will become more polished and methodical. We’re learning how to be cautious.

To learn more about CSLIM STUDIO, click here.

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This article is just for educational purposes.

Make your own exploration before making any form of investment, as always.

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