![]() Early on, it was obvious to me that this would open up a new audience. When NFTs emerged, I saw an opportunity to exhibit work that had no place in the traditional market. I taught Processing and creative coding classes without finding recognition for my own code-based art. So, for many years, I was working mostly as an educator. The idea was met with immense resistance. MoR: When I returned to Brazil after my studies in Kassel, I had a hard time convincing the art world that code-based art has its place in contemporary art. MR: What drew you to NFTs in the first place? As far as artists are concerned, Henri Rousseau and Sol LeWitt have both inspired me - a strange couple, I know! The language-based and performative work of Yoko Ono has also been quite important for me. Repetition and structured patterns fascinate me. My grandfather had a print shop, which influenced my association of art with craft: patterns, tiles, and vernacular arts. One of my earliest inspirations was the tradition of scientific illustration, carried out by travelers like Alexander von Humboldt. MoR: I draw inspiration from many sources. MR: What are the main artistic inspirations for your practice aside from this strong interest in natural forms Monica Rizzoli, Underwater (test mint), 2022. In 2015, I exhibited my first generative art work at the MAK Center, Los Angeles. In 2014 I made a project for MAK Vienna and I won the Schindler Scholarship. My early work with it was received quite well. I wanted to do something similar for the patterns and structures that I observed in my new environment, which led me to Processing. There is a movie by Alain Resnais, Smoking/No Smoking (1993), that has bifurcating storylines that map out different possible scenarios. I then became interested in images that changed over time. That led me to study my surroundings closely, making drawings and sketches. Everything stands out - the landscape, the architecture, and the texture of all things. When you arrive in a new place, your perception of the environment changes, prompting a heightened sense of awareness. ![]() Back then, I was under the impression that my life in Germany would be quite similar to my life in Brazil, but it was radically different. Monica Rizzoli: I went to Kassel for my studies in 2012. How did you get started in generative art? Malte Rauch: Thanks for agreeing to do this interview, Monica. ![]()
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