Amadon Explores Digital Disconnect in “Passive Observer” Debut on LG Art Lab
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Amadon has never shied away from charting new territory.
The artist (born Patrick Amadon) made global headlines last year for his “No Rioters” billboard artwork in Hong Kong. Authorities removed it after realizing it clandestinely displayed the names of imprisoned activists. Earlier this year, he released his ambitious cross-chain “Disobedients” project across Ethereum, Bitcoin Ordinals, Solana, Base, and Arbitrum.
It’s only fitting that he is now spearheading LG Art Lab’s debut digital art release on the Ethereum blockchain.
Last week, LG Art Lab and Now Media announced a global partnership where Now Media will curate LG Art Lab’s upcoming drops and guide their marketplace’s expansion to Ethereum, bringing digital art to millions of LG Smart TVs worldwide. You can learn more about LG Art Lab and the partnership in our Ultimate Guide.
Amadon’s 1/1 artwork, “Passive Observer,” is now available on LG Art Lab. In the piece, Amadon explores digital disconnection and the global news cycle, capturing how unfolding world events create spectators but don’t always compel action.
“I think it’s critical to embrace the real world as much as the digital, appreciating that while we consume digitally, we still have a shared responsibility for what happens in the real world beyond just being entertained,” he explains.
We caught up with Amadon to learn more about “Passive Observer” and his artistic worldview ahead of his landmark release with LG Art Lab.
nft now: Can you share more about your project, “Passive Observer,” and how it relates to bringing digital art to the masses through our partnership with LG Art Lab?
Amadon: Yeah, I want to thank you tremendously for setting this up. It means a lot to me. I’ve been pretty publicly against partnering with companies because I’m very protective of the role and place of art, especially remaining free from outside influences or money, which often runs counter to what I believe we should be doing. This opportunity is different, giving many artists a chance to have their work seen, which I think is a big step forward for digital art.
What defines digital art is its accessibilityâcreating it, collecting it, experiencing it. This initiative amplifies the potential impact we can have with our work, and it’s something I really think is worth supporting. Itâs a healthy step forward. I love seeing digital art and artists highlighted and made a priority. Art shouldn’t be niche, especially for just the wealthy and privileged. This is about delivering art to the people.
“What defines digital art is its accessibilityâcreating it, collecting it, experiencing it. This initiative amplifies the potential impact we can have with our work, and it’s something I really think is worth supporting.”
AMADON
Our ability to impact the world comes down to our ability to get our art in front of people. Where digital art becomes more important than traditional art is in its distribution. This is an interesting step toward that, enhancing our ability to share work and get the message out.
What we can achieve with digital art will empower artists worldwide and raise the profile of digital art in a healthy way. We’re not the first digital artists; weâve seen early computer art and net art, where many brilliant artists suffered in obscurity. Everything we’re doing builds on those movements, and we’re fortunate to be here at a time when tokenization unlocks new possibilities. Embracing the distribution of digital art is crucial as we move forward.
Tell us about the inspiration behind the “Passive Observer” artwork itself.
I was really happy with how this one turned out. We’ve talked a lot about situations like Hong Kong and Ukraine, and how much of what’s happening around the world we just watch. We kind of sit back and consume the news, interested but passive.
I guess the question is, what do you do about it? We’re passively observing and being fed news, and there’s a disconnect between what we experience digitally and how we engage with the world in a real way. It ultimately doesn’t matter how aware you are of something if nothing is being done about it. For example, many people are just watching the situation in Ukraine, seeing the echoes of terrible events in history replay.
“We’re passively observing and being fed news, and there’s a disconnect between what we experience digitally and how we engage with the world in a real way.”
AMADON
But we’re just observing through our screens, which has evolved into a very passive experience of the world. I think it’s critical to embrace the real world as much as the digital, appreciating that while we consume digitally, we still have a shared responsibility for what happens in the real world beyond just being entertained.
What was it about the opportunity with LG Art Lab that stood out and made you decide to partner with them, despite your previous reluctance to collaborate with companies?
I think it boils down to authenticity and sincerity. Someone who wants to build a platform that elevates artists, rather than just to profit, makes a real difference. We’ve seen too much pandering in our space, from meme coins to superficial companies. Itâs a gut check; what they’ve built could genuinely help many people. Whether itâs the 404 Foundation or another initiative, discoverability, accessibility, and distribution of art are key. Digital art has the potential to be the most significant movement in both art history and real-world impact. I support efforts that enable this movement, the artists, and meaningful participation that impacts the real world. This initiative is a prime example of a company using its resources and distribution to support what we do because it matters, making it an easy decision for me.
“I think it boils down to authenticity and sincerity. Someone who wants to build a platform that elevates artists, rather than just to profit, makes a real difference.”
AMADON
Can you tell us about your work “No Rioters,” and what you aimed to achieve with the political statement it made?
I’ve been following the protests for a long time, from the original handover, the umbrella movement, to this recent round. It was compelling to see young students in Hong Kong stand up to the police day after day, enduring tear gas, shootings, abductions, and torture because they were fighting for what mattered to them against the Chinese governmentâa fight they knew they might lose, but they persisted because it mattered to them.
On the other side, you look at the US and Western countries, and we take so much for granted. Things we consider inalienable rights are actually fragile and can vanish with one legislative session. Watching the protesters fight and resist made it all feel like a canary in the coal mine, a cautionary tale of what could happen to us. This was a vibrant democracy two decades ago, now dismantled into a surveillance state, and yet, the art world seems to ignore all that the protesters endured because they want access to a good art market.
“I was targeted with a sophisticated malware attack, and now I’m banned from traveling to China and several neighboring countriesâthey haven’t forgotten, and their memory is long.”
AMADON
So, when a company offered to showcase my work in the middle of Hong Kong during art week, I couldn’t pass up the opportunity to support the protesters, even though it’s against the law to even speak of them. I figured out how much I could safely include in my artwork to support them without it being censored immediately. I included subtle elements, names, ages, stories of police assaults on protesters, and it went unnoticed. It was displayed on the largest billboard in Hong Kong for three days.
Eventually, someone took a photo, the Hong Kong Free Press covered it, and then chaos ensued. The Western press picked it up, and the Chinese state media countered by labeling me as pro-rioter, which I embraced. Immediately, people were forced to take down the billboard. The gallery was threatened and had to ask me to sign a legal document stating they were unaware of my intentions to absolve themselves of liability. Following that, I was targeted with a sophisticated malware attack, and now I’m banned from traveling to China and several neighboring countriesâthey haven’t forgotten, and their memory is long.
Where does your passion for protest and raising awareness come from?
I think it stems from observing events unfold and realizing how closely they impact us. Watching protests, you empathize with those fighting for basic rights, whose voices and freedoms are being stifled within the political system. In the US, many don’t fully appreciate what privacy means, often dismissing concerns with “if you have nothing to hide, why worry?” Yet, privacy is fundamental, acting as a shield for other basic freedoms like speech and assembly.
Regarding recent actions in the UK, such as censoring social media and issuing warrants for international lawbreakers, it reflects a broader erosion of freedoms. Privacy is crucial in defending these freedoms. An incident where a man was questioned by police for covering his face near a surveillance camera illustrates the direction some governments are heading. With rapid advancements in AI, the next decade could dramatically transform our daily lives, raising concerns about AI surveillance abuse. It’s vital to responsibly develop AI technology, aware of its societal implications, to prevent potential abuses and ensure we maintain our essential freedoms.
“I feel like this is the best time to be making art. Right now, with less noise, itâs easier to be heard. Those who double down, make art, and figure it out are in a good position.”
AMADON
What’s your take on the current digital art market and sentiment?
I feel like this is the best time to be making art. Sure, it’s tough to make a living from art currently, but I’ve experienced times when I couldn’t sell art at all. For example, when XCOPY got into the space, he was thrilled to sell something for $40 because, previously, selling art wasn’t even an option.
Right now, with less noise, itâs easier to be heard. Those who double down, make art, and figure it out are in a good position.
You should have a side job to support yourself during this period, and there’s no shame in that. Your side job should enable you to continue creating art while covering your living expenses. This is a prime opportunity to create your work. Complaining about the market is shortsighted and lacks perspective. We’ve seen art movements flourish without the ability to sell work. You can still sell your work today; there are still buyers. Complaining wastes time and shows a lack of perspective on the current market and the broader trajectory of art history. Instead of aligning with complainers, align with those who are committed to creating art daily.
Editorâs note: This interview transcript has been edited for concision and clarity.
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