Inside Mendezmendez’s Sold-Out LG Art Lab Release, “Leave the Darkness Behind”
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Amid the challenging NFT bear market, one digital artist has not simply sustained but significantly grown his presence and sales.
This artist, known online as mendezmendez (born Chema Mendez), has redefined resilience and innovation in the digital space through a pronounced shift in his creative process. At the beginning of 2021, when the NFT space was at its peak, Mendezmendez was already a noted name, primarily for his editions which offered liquidity and accessibility at a lower price point than 1/1 artworks.
However, as the market dynamics shifted, he took a strategic pivot—shifting his focus from creating limited edition series to producing one unique piece of art each day. This move was inspired by the renowned “everyday” practice popularized by digital artists like Beeple, proving that daily consistency can build both a robust portfolio and an engaged audience. His decision to embark on a 28-day challenge of daily art creations, extended to over 300 consecutive days, not only helped him break free from a creative rut but also catalyzed a new level of professional achievement.
Mendezmendez brought his talents to LG Art Lab’s platform last week, quickly selling out his 30-edition drop, “Leave the Darkness Behind,” in a matter of hours. We caught up with him beforehand to hear more about his creative vision and artistic approach.
Matt Medved: You’ve had a long career at the intersection of art and technology, well before entering the web3 space. I’d love to hear a bit about your backstory.
mendezmendez: Ever since I was a kid, I loved to draw and paint. My parents supported me by enrolling me in various art classes. Growing up in the late ’80s, by my teenage years, personal computers and the internet were becoming commonplace, sparking my interest in the intersection of art and computer science. This led me to learn Photoshop, interacting with others through IRC chats and forums, which were vital for socializing online at the time.
I created graphics for online communities, developing digital identities through avatars and signatures, similar to today’s PFPs. This experience introduced me to graphic design. My college years at FIT in Manhattan expanded my skills in communication design, covering everything from life drawing to using Illustrator and Photoshop. After college, I freelanced in corporate branding and advertising, which I eventually found unfulfilling artistically.
In 2009, I began a digital collage series, building a portfolio that I shared on Reddit in the We Are The Music Makers subreddit. The post was incredibly successful, becoming the second most popular post and leading to several years’ worth of commissions. This success made me realize I could make art my livelihood. I soon began working with Dirty Bird Records, a significant player in electronic music, which lasted until their acquisition by Empire.
This work led me to other record labels and eventually to the world of web3 and crypto art. In late 2020, one of the label owners introduced me to Rarible, a platform for creating and collecting art for Ethereum, marking a new chapter in my career.
“I didn’t start the year planning to ‘make it’; it’s not something you set out to do. However, I did change my strategy.”
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The NFT space was booming in 2021 and 2022, but now we’re in a bear market. Yet you continue to successfully sell your work. Can you share what you attribute this success to and any strategies you’ve adapted from the bull to bear market?
It’s an interesting question. I didn’t start the year planning to ‘make it’; it’s not something you set out to do. However, I did change my strategy. Previously, I focused on editions rather than one-of-ones, spending weeks to a month on a single piece due to their liquidity and ease of sale. This year, I decided to switch it up by creating more art with less time spent on each piece, moving to a model of producing one piece per day. This shift began as a 28-day challenge to overcome a creative slump, surrounded by friends in the space. Mid-challenge, the consistency paid off when the meme card team, Six Flags Tonight, approached me for a project. That moment reinforced the value of daily creative output, and I decided to continue beyond the initial challenge.
Today, I’ve reached the 300th day of consecutive daily art, attributing my recent success to this practice. It started slowly but gained momentum after prominent collectors like Jack Butcher and OSF acquired some of my pieces. This exposure led to more interest and direct requests for purchases, creating a snowball effect. This year, I’ve exclusively focused on one-of-ones, a complete pivot from my previous approach. This change was a gamble, but it has proven to be the right move, and I’m now enjoying the benefits.
We’re thrilled to feature you as one of the curated artists for LG Art Lab as part of our partnership that aims to democratize access to digital art, bringing it to screens worldwide. Can you share more about the piece you’ve selected for this release?
Certainly. The piece, “Leave the Darkness Behind,” reflects core human emotions and experiences. It was one of my daily creations, which I animated for this release and reformatted for TV. It depicts a human form breaking through the sky from a dark hole, symbolizing a pivotal moment of moving past difficult times.
That’s very cool. And this edition is the first time it’s been minted?
Yes, correct. It’s one of the 300 pieces I’ve done this year, with only about 10% minted. This is the second one that is animated and my first animated edition in my NFT career. I reserved an edition drop for something special, and this opportunity with LG was perfect.
LG Art Lab is quite new. We’ve had successful drops with other artists. What attracted you to this platform?
The chance to have my art displayed on numerous screens is invaluable. Previously, my work was mostly confined to the web3 space. This year, I’ve made a breakthrough on platforms like Instagram and Twitter, allowing my art to reach beyond the NFT bubble. Being featured on a physical display that reaches people not actively seeking art is very special.
GM ☁️
— nft now (@nftnow) November 22, 2024
Huge congrats to @mendezmendezart on his sold out @LGArtLab drop!
30 editions gone in a matter of hours 🙌 pic.twitter.com/HdhtsfsyMx
Yeah it’s crucial to expose more people to meaningful digital art to help foster mainstream adoption, and we’re excited to have you play a part in this.
Absolutely, it’s a wonderful opportunity. As an artist, I’m immersed in art daily, but many people aren’t always thinking about art. Introducing art into their everyday life can spark imagination and lead them to explore more about the digital art scene, like finding my work on their TV and then checking out my social media platforms.
Jack Butcher has collected your work and spoken highly of you. Can you share more about your relationship with him?
It’s unexpected; I never planned for it, but Jack recognized something in my work and supported me by collecting it and encouraging me directly. I’m grateful for his endorsement. Recognition usually comes not from soliciting comments but from consistent, quality work. The artwork has to speak for you and the rest will sort itself out.
“The artwork has to speak for you and the rest will sort itself out.”
mendezmendez
Looking ahead, given the shifts in the digital and crypto art spaces, what trends do you see shaping up for 2025?
We haven’t seen a defining trend like the open edition runs for a while. Perhaps the new trend will be low-cost or free mints, which can attract a broader audience due to the lower barrier to entry. I see what they’re doing with Rodeo and how that makes a lot more sense for not only the platform in terms of revenue, but also just creating a product that is an easier entry for someone who’s not tech savvy. However, my focus remains on developing my own collection of one-of-ones, which includes creating a strong community through regular airdrops and special releases. This strategy keeps me engaged with my work and responsive to new opportunities without merely copying existing trends.
I've been getting DMs with pictures of my artwork on LG TVs, pretty fucking cool 🖤 https://t.co/7PiyMxvVyK
— mendezmendez (@mendezmendezart) November 23, 2024
With the rebranding of Foundation to Rodeo and your experience minting on Foundation, what’s your perspective on this change? There was some confusion there.
The rebranding led to significant misunderstandings; people thought Foundation might be sunsetting, which isn’t true. Jack Butcher experimented by minting an artwork on both platforms to test their effectiveness; both performed similarly, but Rodeo retained a larger revenue share. This strategy makes sense as it diversifies the offerings and targets different segments of the market.
“There’s a reason why gallery walls are completely blank and the artwork is in the middle. It’s so you can just immerse yourself in a piece.”
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Considering the evolving landscape, how do you perceive the role of traditional art galleries and auction houses in your career, given the digital focus?
The digital art scene is essentially a gateway to traditional art venues like galleries and museums. As digital methods continue to permeate the art world, I envision a future where I participate in both arenas. Recently, visiting a local museum in Tenerife highlighted the irreplaceable experience of viewing art physically. There’s a reason why gallery walls are completely blank and the artwork is in the middle. It’s so you can just immerse yourself in a piece. It’s a different, more immersive interaction than viewing art digitally when you’re scrolling through Twitter and Instagram. I believe both platforms can coexist, enhancing how art is consumed and appreciated.
Editor’s note: This interview transcript has been edited for concision and clarity.
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