Features

Bryan Brinkman Talks Sold-Out “Bloom” Drop, Memecoins, and More

BY Matt Medved •

December 12, 2024

Verified on SovereigntyVerified On-Chain

In Partnership With

Bryan Brinkman’s creative journey is a masterclass in evolution.

From his early days crafting web cartoons in Nebraska to becoming a trailblazing digital artist in the NFT space, Brinkman’s work defies easy categorization. His art, often described as a dynamic fusion of animation, mixed media, and cutting-edge technology, reflects a restless curiosity and a refusal to be boxed into any one style. Over the past five years, he has leveraged blockchain technology to transform his career, positioning himself as one of the most versatile and forward-thinking artists in the digital art world.

At the heart of Brinkman’s approach is an adventurous spirit, one that thrives on experimentation and challenges. Whether collaborating with institutions like Christie’s and the Norman Rockwell Museum or creating hypnotic animated works for LG Art Lab, Brinkman’s projects highlight his knack for blending artistic exploration with cultural resonance. His latest release, “Bloom,” epitomizes this ethos—an animated celebration of nature’s beauty, crafted to captivate audiences on screens around the globe.

Brinkman’s 100-edition release quickly sold out and has been moving on the secondary market. We dove deeper into “Bloom” and his take on the state of web3 in a candid interview.

Matt Medved: What drew you to the LG Art Lab opportunity?

Bryan Brinkman: There are a few reasons. First, it ties back to my background in creating for television. TV has always been such an integral part of my life, and digital displays are a big part of how I make art. I create with those in mind. Also, I have an LG TV in my living room, and the fact that I could turn it on, go to the menu, and see my art there? That was just too exciting of an opportunity to pass up. I’m really thankful that you guys curated me and that I got to work with the team.

Tell us about Bloom—what was the inspiration behind the piece, and what was your process for creating it?

This piece was less about a narrative and more about exploring a process. I wanted to create something that felt like a screensaver I’d have loved growing up—hypnotic, satisfying, and approachable for someone unfamiliar with my work. I started by animating flowers blooming, experimenting with 2D hand-drawn animation, AI, 3D, and more. Each technique was like its own puzzle piece, and I eventually combined them all into this final piece. The animation features blossoming flowers, each uniquely animated, and the randomization adds a dynamic quality. It was a fun and exploratory project, and I’m excited to see it on LG screens.

How do you see digital art integrating into physical spaces, especially with projects like LG Art Lab?

I think it’s exciting to see digital art naturally becoming part of living spaces. With LG Art Lab, it’s about making digital art accessible and seamless—using screens people already have in their homes. This aligns with my work because I often create with screens in mind. For example, I recently did a physical print that paired with an NFT, and over 60% of collectors claimed the physical version. It showed me that people appreciate both digital and physical representations of art, and I think projects like this help bridge that gap beautifully.

What trends are you observing in the NFT and art spaces right now?

I think one big shift I’m seeing is that one-of-ones aren’t capturing the attention they used to. Collectors seem to want small series releases—one of one of X—where there’s a set of 20 to 50 pieces around a singular concept. These kinds of collections act like glue, bringing collectors together in a community that rallies around the artist and the work. I think that’s where things are heading—collectors are looking for more of a shared experience rather than standalone pieces. On the tech side, I think ordinals are really interesting. I’ll be doing an ordinals drop next year. L2s also present cool opportunities for gamification and experimentation without the heavy gas costs.

How do you see AI evolving in art, and what role does it play in your process?

I think AI is an incredible tool. Right now, I mostly use it as an asset generator in my workflow—creating textures or stock photos that I can then cut up and integrate into my work. But the animation and video stuff that’s starting to emerge? That’s really exciting. I’ve mostly been playing with it as an experimental tool, but I’m curious about using it for storytelling and creating a series or collection around it. I think as the tools improve, we’re going to see more artists incorporating AI in ways that push their work in new directions. But with how fast it’s moving, standing out will get increasingly harder.

Any spicy takes or observations about the current state of the space?

I don’t know if this is spicy, but I’ve been watching this push for artists to launch meme coins, and it’s just… it feels misguided. Artists are getting pressure from people who don’t have their best interests at heart. These people—whether you call them devs, producers, or something else—are like oil barons. They tap the well, drain it, and then move on, leaving the artist to deal with the fallout. It reminds me of the PFP craze. A lot of artists were pressured into doing PFP projects, and when things went south, it was their reputations that got hit, while the devs walked away unscathed. I think that’s what’s disappointing about this space sometimes. But at the same time, the narratives are still being reshaped, and I do think the stories and projects that really resonate will stand the test of time.

What are your thoughts on memecoins? Do they hurt or help the space?

I mean, you can make arguments both ways. Memecoins are an easier onboarding tool into crypto compared to art. They’re quick to sell, always liquid, and tap into the attention economy. But as an artist, I’ve been very vocal that artists shouldn’t make their own meme coins. It’s a lose-lose scenario. If it goes to zero, you’re hated for it. If it does well and you sell, you’re hated for cashing out. It’s gambling—fun for some, but artists should stay cautious. Overall, meme coins bring more people into the space, which is good for growth. But they’re not something I think artists should dive into.

Editor’s note: This interview transcript has been edited for concision and clarity.

Dive Deep

Features & Guides

The Ultimate Guide to LG Art Lab: Everything You Need to Know

Dec 03 2024

Amadon Explores Digital Disconnect in “Passive Observer” Debut on LG Art Lab

Aug 19 2024

Inside Dave Krugman’s Absurd & Imaginative Vision for “DRIVE” Lap 2

Aug 15 2024