Where do they come from? What do they want? These are the questions Van Arman poses to the internet of his BitGAN and PodGAN creations in a video detailing their background. His explanation to their existence is a carefully constructed weaving of fact and fiction, so it becomes hard to know where the truth ends and fantasy begins. Dig a little deeper and you quickly begin to realise these endearing little digital creatures are an ode to the history of CryptoArt and Van Arman’s journey as an artist.
Having painted his whole career, Van Arman started using robots in has practice a little over fifteen years ago. Initially they were little more than anthropomorhpic printers, however this all changed when you started using (relatively) simple AI programming along with cameras on the robotic arms. The robots started analysing their own work and choosing their brushstrokes according to how the painting changed in front of them. This led to critical success in its niche field but no recognition from the art world at large. What had been established though was his place in the AI art scene, which led him to early prominence within the NFT and CryptoArt sphere.
As his interest in AI grew in 2018 Van Arman and his robots created an Andy Warhol style polyptych called AI Imagined Faces/Emerging Faces. Whereas the famous pop artist used one repeating image, ‘Emerging Faces’ was a series of unique AI conceived portraits which together created a haunting display of machine creativity. The work had four editions minted on SuperRare, Van Arman was just the 12th artist to feature on the site. These 4 copies are now owned by Hackatao, XCOPY, Cozomo de’Medici and a private collector, with XCOPY stating it is his favourite NFT that he owns.
Emerging Faces, 2018
Further experimentation saw Van Arman’s work transition from the physical to the (mostly) digital. By changing the data modules from thousands on human faces to thousands of pixilated images, in combination with evolving AI programmes, the artworks moved from skull like canvases to the first dancing 8-bit creatures he is now famous for. It was this transition that saw Van Arman fully embrace the CryptoArt world, stating “I wasn’t actually an AI Artist, but a cryptoArtist that made AI Art”.
The BitGANS, 2021-current
The BitGANS (and cousins the PodGANS) are far more than first meet the eye. Their whole being is an accolade to the history of CryptoArt, they embody the themes that define the genre. Their pixelated appearance is on the one hand a nod to the Punks and other 8-bit NFTs synonymous with CryptoArt, but also an aesthetic that is both nostalgic and timeless to the viewer. Whilst other digital works will always be bested as resolutions get higher and processors get faster, the pixel art is of a time and place of its own. Furthermore it harks back to the birth of the video game genre, contextualising this also as the dawn of something new.
The BitGANS and PodGANS embrace the dynamics of the NFT space. A mythology is created around them, mixing truth and fiction to build them into a more powerful cultural meme. Rarity and scarcity is in their core design, leaning into the values of collectibles that have driven much of the NFT market. Only 2024 BitGANS and 1012 PodGANS will ever exist. Even the very nature of cryptography, the foundation of bitcoin history, is consumed by Van Arman. Complex riddles are set using the properties of his creations. His community is invited to solve this puzzles often leading them into virtual worlds and observing confounding patterns to be rewarded with ownership of new BitGANS.
Van Arman encourages his community to share his creations, rewarding them for images on large public displays. Just recently they appeared as a Monolith in Miami and as occupying the Munich Art Museum. This form of reproduction is reminiscent of Keith Harring, Mr Doodle or french artist Invader who’s work is of influence to Van Araman.
CryptoArt has spread using memes as a powerful messaging format. These artworks are often fist seen as cute or silly and as such are ignored as being impactful. But their design is to spread, to be viral through the internet. BitGANS and PodGANS are the embodiment of this, visually curious and fun it is their goal to spread like digital graffiti to screens around the world. Carrying the message of NFTs and CryptoArt with them. This form of reproduction is reminiscent of Keith Haring, Mr Doodle or french artist Invader who’s work is of influence to Van Araman.
The goal of the PodGANS is to invade. Invade your computer, invade your city and invade the art world. It masterfully turn the ‘right click savers’ only weapon against them, as they can only help them spread.
All we can do is send out a warning...
The PodGANS are coming.
