Rob Dixon, often known as Radix, is a code-based generative artist merging know-how and creativity to discover human experiences in digital areas. Beginning with Adobe Flash within the late Nineteen Nineties and later becoming a member of Adobe’s Flash Participant workforce, he crafted visuals that laid the muse for his distinctive model. Coming into the NFT house in 2020 by means of Artwork Blocks, Rob gained recognition for works like Inspirals and Eccentrics. Influenced by sci-fi, Artwork Deco, and mission-style design, he continues to push his inventive and technical limits by means of generative artwork.
On this interview, Rob discusses his creative journey, from Flash to NFTs, sharing the inspiration behind Exposures, his upcoming MakersPlace exhibition, which can debut on the inaugural Miami Digital Artwork Honest. He displays on the evolving metaverse, the social energy of digital areas, and the way influences like recreation design, sci-fi, and structure form his work. Be part of us for an insightful have a look at artwork and innovation on the intersection of the digital and bodily worlds.
Go to Rob’s MakersPlace Gallery
Textual content output for Exposures by Rob Dixon
BW: Rob, for anybody unfamiliar with you and your work, are you able to inform us a bit about your journey as an artist?
RD: Certain. I’m Rob Dixon, also referred to as Radix. I’m a code-based generative artist, which implies I create artwork utilizing software program I write myself.
I began within the late ’90s with Adobe Flash, making enjoyable web-based graphics. Finally, I joined the Flash Participant workforce at Adobe, the place I labored on paintings, recreation samples, and music visualizers. That’s the place my generative artwork profession started.
Years later, I explored recreation improvement and blockchain know-how, which led me to NFTs round 2015–2017. In 2020, I found Artwork Blocks, and the whole lot clicked. Generative artwork as NFTs had an viewers, and I lastly had a technique to share my work.
BW: I’m interested in your Adobe job—it seems like a dream gig. Was it as experimental because it appears?
RD: It was. I acquired to experiment and develop concepts. The engineering workforce would create options, like a pseudo-3D system, and I’d make one thing to demo it. Then I’d doc the characteristic, turning into the go-to skilled on it. It was thrilling and inventive work.
BW: From week to week, had been you simply creating new issues in Flash and documenting them?
RD: Just about. I even co-wrote a few books concerning the ActionScript language, together with reference paperwork and secure builds. Not that anybody makes use of them now, however it was cool on the time.
BW: One in every of my favourite artist duos labored solely in Flash. When Flash was deprecated, they needed to discover one other device.
RD: That’s a typical story. Many artists, like Casey Reas, Joshua Davis, and Mario Klingemann, began with Flash. It was a gateway for lots of creatives.
Eccentrics 2 #274 by Rob Dixon
BW: You found NFTs whereas researching for a novel. Are you continue to writing?
RD: A bit. I’ve a principally completed sci-fi novel a few metaverse-like world on blockchain. Whereas researching in 2017, I found Decentraland, acquired concerned early, and have become an energetic contributor of their 3D world.
It was my first publicity to NFTs. Decentraland, together with Dapper (the creators of CryptoKitties), collaborated on the unique NFT spec. Their land parcels had been among the many first NFTs, which was fascinating and pulled me deeper into the house.
BW: What’s your present relationship with the metaverse and Decentraland?
RD: I created about half a dozen video games in Decentraland, together with Marvel Mine, which was the most well-liked recreation on the platform for a few years and continues to be energetic.
Decentraland has had ups and downs. At its peak, WonderMine had 10,000 each day customers. Now it’s just a few hundred, as individuals have extra leisure choices post-pandemic.
That stated, I feel the metaverse can have a resurgence. It’s influenced my artwork, particularly my newest undertaking, which explores how individuals inhabit digital worlds.
BW: The place do you see the metaverse going within the subsequent one to a few years?
RD: I feel it’s right here to remain, although it’s going to evolve. What I’ve realized as a recreation developer is that the metaverse’s actual power lies in its social facet.
In my earlier video games—principally cellular video games and social on line casino video games—gameplay was often a solo expertise. However within the metaverse, it’s totally different. The video games we created would deliberately construct in downtime, the place gamers needed to wait a minute or two. That led to individuals chatting with one another whereas they waited.
It created this unimaginable social hub. Individuals fashioned communities and stored coming again every single day on the similar time to hang around, see what new wearables others had, and exhibit their very own. “Look, I can fly immediately—I purchased wings!” It turned a real social phenomenon.
That’s the candy spot for the metaverse. It’s not about solo adventures; in order for you that, you may play a standalone online game with higher graphics and deeper gameplay. The metaverse is about goofing round for a few hours, hanging out with mates, and chatting—whereas perhaps flying on the again of a dragon.
BW: I take into consideration the promise of the metaverse, VR, and AR. As somebody who works from dwelling, some days I don’t even depart the home. Quite a lot of skeptics see the tech’s present shortcomings as failure, however I feel the potential is large—particularly as extra individuals work remotely and crave social connections.
RD: Positively. For many 3D worlds, you don’t even want a headset—only a web site. VR and AR will take off when it’s so simple as sporting glasses you should use whereas going about your day. Proper now, the cumbersome headsets are simply too inconvenient.
BW: Tech merchandise have been designed by brains for brains, not by our bodies for our bodies. As soon as we get instruments that allow us transfer and manipulate house, it may change the whole lot.
RD: Precisely. One nice use of 3D areas is displaying paintings. Digital galleries are already a factor, however persons are constructing them in different metaverse areas too. You possibly can undertaking huge, gorgeous paintings, together with 3D sculptures.
For instance, my Ballistics assortment featured 3D sculptures that constructed up and animated. You could possibly view them on the net, in augmented actuality, or in Decentraland for a metaverse model. These areas will proceed to be priceless for showcasing artwork and creating experiences.
BW: Ballistics is absolutely cool—it is perhaps my favourite of your work. Earlier than we dive into it, how does your recreation design background affect your visible artwork?
RD: Loads. I acquired into recreation improvement as a result of I needed to be inventive. After years in hardcore tech, I needed to department out. Sport improvement gave me that outlet.
Now, I can create purely for the sake of it with out worrying about commerce, and that influences each undertaking I’ve carried out.
For instance, Eccentrics has a classic sci-fi vibe, despite the fact that it’s summary. Sci-fi, video games, and related influences at all times discover their means into my work. My New Exposures undertaking additionally displays a few of that.
Take a look at output for Exposures by Rob Dixon
BW: Let’s speak about Exposures, which is developing on the Miami Digital Artwork Honest. Was there a selected second that impressed it?
RD: There have been two key moments.
First, I went to a dance recital rehearsal for one in all my teenage children’ mates. The dancers had been performing superbly, however lots of them had been holding their telephones whereas dancing. It was the craziest factor to me.
Second, my son’s class visited the pyramids in Mexico. The instructor shared a photograph of the scholars sitting on the base of a pyramid—all of them watching their telephones, texting one another, and lacking the unimaginable scene behind them.
It made me take into consideration how know-how modifications the way in which we behave and relate to one another. That turned the theme for Exposures: representing digital or metaverse areas and displaying how individuals work together inside them.
Some characters within the items are impressed and engaged, whereas others are utterly distracted, lacking the second. Each character has a telephone—in the event you zoom in, you’ll see it. I nearly referred to as the undertaking Selfies in Summary Land as a result of that’s what individuals do in these colourful, wild areas: take selfies.
BW: These are digital areas, however why the painterly textures?
RD: I needed to floor it and steadiness the digital with the human. Most of my earlier work is sharp and geometric, and I stored that right here, however I didn’t wish to lose the human component.
Bringing in characters was key, although it’s not frequent in code-based generative artwork. The problem was creating easy 3D fashions—lower than 1,000 polygons—to maintain file sizes small for on-chain tasks. The brushstroke textures got here from softening the angular varieties, imagining a painter within the metaverse doing plein air artwork.
Take a look at output for Exposures by Rob Dixon
BW: The figures remind me of artist mannequins. I do know you pushed your technical limits on this undertaking. What was that course of like?
RD: It was intense. The undertaking took a few 12 months. Most generative artwork is summary as a result of it’s simpler in software program, however I needed one thing extra compositional, with figures impressed by watching my children glued to their telephones.
I noticed 3D fashions had been the way in which to go, however they needed to be easy sufficient to look good and sufficiently small for on-chain use. I basically rebuilt my instruments from scratch, drawing on strategies I’d utilized in Ballistics.
After designing and posing the fashions, I optimized the whole lot for on-chain deployment. It was months of retooling, however it all got here collectively ultimately.
BW: Yours will probably be our second long-form generative collection. Our first was by Juan Rodríguez García who additionally struggled to characterize the human kind in generative artwork. In the identical exhibition, at Artwork Basel, we additionally confirmed Operator, which I feel is the one different on-chain generative collection exploring the human kind. It’s uncommon however compelling—this medium is so summary, but artists nonetheless discover methods to incorporate the human determine.
RD: Precisely. It modifications the whole lot. At first, I wasn’t certain it could work. The detailed fashions I attempted felt misplaced—like a 3D mannequin dropped onto an image. Simplifying the figures, making them angular and semi-transparent, solved that downside. The transparency ties into the theme of exposing ourselves on-line, which can be the place the undertaking’s title comes from. As soon as I made these modifications, the whole lot clicked.
Take a look at output for Exposures by Rob Dixon
BW: The transparency provides a lot. It jogs my memory of how on-line areas will be invasive, altering who we’re—like sitting on the base of a pyramid, watching your telephone as an alternative of speaking to the individuals round you.
RD: Precisely. These items discover the personas we undertake on-line—outgoing in a single house, quiet in one other. It’s how we navigate totally different environments. This collection displays these competing facets of ourselves, for higher or worse.
BW: I actually like this collection, however I nonetheless assume Ballistics is perhaps my favourite. What impressed that?
RD: Ballistics began as my first deep dive into 3D. I needed to create one thing for the metaverse, like sculpture gardens the place you may personal items, place them anyplace, and hang around with mates.
I additionally wanted the sculptures to work throughout platforms—internet, augmented actuality, and the metaverse. To realize that, I used easy shapes like cubes, spheres, and cylinders, which render constantly throughout all platforms.
The sculptures animate as they construct up, making a dynamic expertise. At Artwork Blocks’ activation in Marfa, Texas, individuals may place an augmented actuality model on any floor and watch it construct. Strolling into the sculpture allowed you to search for and round because the shapes fell on both facet.
BW: That sounds unimaginable.
RD: Thanks! The thought was to create “public sculptures for on-line areas,” like a fountain in a public sq.—shared, inspiring, and interactive. The animations evolve endlessly, creating areas for individuals to assemble and expertise collectively.
Ballistics sculpture #1002 outdoors the Artwork Blocks Home
BW: Do you will have a means of realizing the place the sculptures are positioned?
RD: That’s the plan. I would like homeowners to have the ability to geo-locate sculptures—for instance, inserting one on the Golden Gate Bridge and letting others see it there.
In Decentraland, there’s a gallery the place you may work together with these sculptures, run round them, and sync with music. Generally individuals even throw little events there—it’s a number of enjoyable.
BW: How do improvisation and errors play into your course of, particularly in a code-based workflow?
RD: Improvisation is vital. Early on, it was pure experimentation—making an attempt issues till one thing clicked. Now, I begin with ideas and compositions however nonetheless experiment always, particularly with colour palettes.
For Exposures, I examined all my earlier palettes to see which labored. Transparency made it tough as a result of colours mix—you must keep away from muddy outcomes. It was a number of trial and error.
Windwoven #0 by Rob Dixon
BW: Looks like you’d must overview tons of outputs to seek out the precise palettes.
RD: Positively. Some palettes work half the time, however as soon as one seems good, it often carries by means of. Take Windwoven. Its palette was based mostly on tropical fish, and I reused it in Exposures, the place it labored superbly on just a few items.
BW: I’d love to listen to extra about Wind Woven. It appears to have developed rather a lot.
RD: It did. It began with easy shapes—rectangles and circles—creating smoke-like patterns. Initially, it was meant to be 3D, however I experimented with flat, open circles and ellipses with excessive transparency.
Layering these shapes created textures that felt like wool or material. The ultimate items are simply hundreds of thousands of clear open circles, however the impact is totally natural.
BW: Let’s speak about Inspirals. You talked about it’s a reimagining of an earlier thought.
RD: Proper. This piece, for instance, begins with a repeating sample prolonged infinitely. The thought comes from mathematical tessellations. I discovered a technique to spiral flat patterns into infinity and make them extra advanced by means of distortions and indentations.
This one was serendipitous—it’s piece #666, full with satan horns.
Inspirals #666 by Rob Dixon
BW: I used to be going to ask about that. The palette and vibe are very 666.
RD: Completely matches. With tessellated patterns, you may often solely work with three colours. Including extra disrupts the concord, so all these pictures use three-color mixtures.
BW: Are you able to stroll me by means of your undertaking workflow?
RD: It relies on the part. Early on, it’s all about idea and experimentation—sketching concepts and testing them in code. I keep away from finalizing something too quickly to let concepts develop.
As soon as the idea is obvious, I transfer right into a structured method, breaking the undertaking into phases. For Exposures, I spent a month modeling and posing characters, then one other month refining the rendering model to floor the whole lot.
Refinement takes the longest—guaranteeing selection and avoiding duplicates. With generative artwork, random outputs can produce items that don’t meet expectations. For Exposures, we’d pre-curate some outputs to make sure a greater collector expertise whereas conserving the reside technology course of intact.
Inspiral #733 by Rob Dixon
BW: Do you will have any unrealized tasks that really feel too bold to deal with?
RD: Since my second long-form undertaking, Eccentrics, I’ve had an enormous thought in thoughts. Each undertaking since has been constructing towards it, piece by piece.
Exposures represents the present state of that imaginative and prescient. It combines parts from my earlier work: the compositional focus from Eccentrics, geometric portal-building, natural textures from Windwoven, and now painterly parts and figures.
Finally, I’d wish to develop into one thing nearer to the world-building I do in video games, however tackling it all of sudden would’ve been an excessive amount of. These tasks are steps towards realizing that imaginative and prescient.
BW: That seems like macro-level undertaking administration—breaking an enormous thought into stepwise tasks.
RD: Precisely. The fantastic thing about generative, code-based artwork is which you could preserve constructing on earlier work and reapplying parts in new methods.
