DinizBR: Crypto Art Brings Light to a Time of Darkness

The Demons Want to Eat Bitcoin, Crypto Art Collaboration Petri Dish & DinizBR’s Rollercoaster Life

Click the image for the full interview! Cover features Eclipse and The Selection of Anubis by DinizBR

Rare Digital Bird, Episode 5

Heidy “DinizBR” Teixeira talks about how crypto art changed his rollercoaster life, how there is no instant crypto art success, the many meanings behind his latest piece, Eclipse & more.

This 3D, VR and AI digital creative takes us on a journey into his life as an 8 yr old clown, magician’s assistant, fashion photographer, survivor of and speaker on drug addiction, a father to a child in transition, and the creative inheritor of his patriarch’s legacy.

Follow Heidy “DinizBR” Teixeira

WEBSITE https://www.dinizbr.art/
TWITTER https://twitter.com/TeixeiraHeidy
ASYNC ART https://async.art/u/dinizbr/collection
MAKERSPLACE https://makersplace.com/dinizbr/
CRYPTOVOXELS https://www.cryptovoxels.com/play?coo...​
KNOWN ORIGIN https://knownorigin.io/dinizbr-artw
BEHANCE https://www.behance.net/dinizbr
CRYPTOART https://cryptoart.io/artist/dinizbr​

Table of Contents

0:00:00​ Coming Up!
0:01:39​ What’s Rare Digital Bird?
0:01:59​ Collaborations in the traditional art world
0:02:41​ How electronization and digitization has changed art collaborations
0:03:02​ How blockchain and the crypto art community are taking digital art collaborations to a whole new level
0:07:04​ About Heidy “DinizBR” Teixeira
0:09:09​ How Heidy’s family introduced him to his creative journey
0:12:24​ How Heidy overcame his drug addiction and found hope in crypto art
0:16:02​ Heidy’s exploration of different creative processes leading him to crypto art
0:20:35​ How life experiences, world events, movies, music, ancient mythology and his daughter inspire him
0:23:01​ About Heidy’s latest programmable, changeable artwork: Eclipse
0:32:14​ About Heidy’s cinematic video artwork: The Selection of Anubis
0:36:27​ The mysterious person who lifted Heidy out of hopelessness and into crypto art, and what it was like to enter the crypto art world
0:38:32​ Experience of using Async, MakersPlace and with the platform teams
0:40:20​ Benefits of the crypto art world vs. non-crypto art platforms)
0:42:06​ The challenge of entering the crypto art world
0:43:15​ Advice for artists wanting to enter the world of crypto art
0:43:40​ Advice for people developing new crypto art platforms
0:44:49​ Bonus Eclipse gifts!
0:45:31​ Current & upcoming projects, collaborations
0:47:45​ How to contact Heidy

You can read all this, or you can click HERE instead for Episode 5 of the “Rare Digital Bird” Series — with closed captioning!

🙏 Appreciate this transcript? Help me reach other readers by smashing the 👏 button for up to 50 claps at the bottom of this transcript, please and thank you.

[00:01:36]​ What’s Rare Digital Bird?

Hey, peeps! What’s up? I’m Ann Marie Alanes, and this is Rare Digital Bird — a series about artists, their creations, and their experiences — both good and bad — using blockchain technology.

In Episode 4, we discussed the importance of mentors and some of the important people to follow in the cryptoart community. Guide your cursor up here for the link to Episode 4.

[00:01:59]​ Collaborations in the traditional art world

Now, let’s talk about collaborations in the cryptoart space. Artist collaborations are nothing new. There are famous collectives like Guerilla Girls and Flexus, and famous duos like Pablo Picasso and Georges Braque, Frida Kahlo and Diego Rivera, Andy Warhol and Jean-Michel Basquiat. Collaborations were once limited by geography, access to tools and lighting, the collective level of financial negotiation skills, and the risk of placing strong personalities in the same room.

[00:02:32]​ How electronization and digitization has changed art collaborations

The electronization and digitization of our world has progressively allowed art and the creation of it to transcend time and space. First, you no longer have to put forth the plane ticket to be in the same room together. A digital work in progress can be sent relatively quickly back and forth between you and your creative partner through the internet. Also, an infinite palette of colors, digital brushes, and tools are accessible on your phone, tablet, or computer.

[00:03:02]​ How blockchain and the cryptoart community are taking digital art collaborations to a whole new level

So, is it possible that blockchain and the cryptoart community are taking digital art collaborations to a whole new level? I say yes. It’s a Petri dish for digital art collaborations. How? Blockchain, by its very nature, is experimental. It’s imperfect, a collective work in progress, a virtual space that’s filled with promise, hope, and ideas. Move over, geographically challenged American dream. Here comes a cyber-ian dream. It’s a new global world for adventure seekers, risk takers, and explorers. These are the same people who tend to combine forces to build something bigger than themselves.

A great example of this in the traditional art world would be the cubism art movement born from the collaboration of Pablo Picasso and Georges Braque. Now, artists of the global crypto avant-garde are increasingly combining forces to create works like “First Supper,” a collaboration of 13 different artists; “Collision,” the four-part collaboration by cryptoart superpowers Trevor Jones and Murat Pak; and the serial collaborations of “Roses” with Hackatao, MLIBTY, and more. The cryptoart community is a force to be reckoned with.

Which brings us to number two: You have major players using several cryptoart platforms. Multi-platform artists are the bridges that break down the siloed walls of cryptoart platforms. It’s not just KnownOrigin artists collaborating with other KnownOrigin artists. It’s KnownOrigin artists, who are also MakersPlace artists, collaborating with other MakersPlace artists, who are also Async artists, collaborating with other Async artists, who are Rarible artists, and so on.

Number three: Twitter. The online presence of the cryptoart community is strong, especially on Twitter, which happens to serve as a blockchain-agnostic and platform-agnostic soapbox. Type in #cryptoart and it will tie in many of the conversations happening in the space. It’s a great way to make connections with other cryptoartists.

Number four: Let’s not only talk about how blockchain keeps track of who owns what art, a well-known cryptoart benefit usually seen from the point of view of art being sold and then sold again on the secondary market, but also let’s talk about the attribution of all artists involved in creating a collaborative work in the first place. Powerhouse artists of the traditional art world, Laszlo Moholy-Nagy and Lucia Moholy, might have saved themselves 22 years of legal proceedings if their work somehow used blockchain technology. All Lucia wanted was to receive proper credit for her work, but in the end was only able to claim three photographs of her extensive solo on collaborative works.

Number five: The most practical feature I’ve seen grow out of this Petri dish is the automation of split payments from the sale of a single collaborative work. Keeping track of something like this in a way that all parties can trust is not an industry standard of the traditional art world, but cryptoart marketplaces, like SuperRare, KnownOrigin, and MakersPlace, are either publicly offering this feature or are planning to.

Number six: Hopefully not the last, and definitely not the least, collaboration is baked into this innovative cryptoart platform, Async Art. Async and the artists using this platform are not only collaborating with each other to create programmable, changeable art, but they are also bringing collectors into the collaborative effort by allowing them to interact with a master artwork’s layers. It’s like a fractional ownership game-changer.

And there it is: six reasons why I think collaborations thrive and will continue to grow in the cryptoart space. Now, if you’re an artist who is considering exploring the cryptoart world, or if you’re a blockchain dev interested in creating something better that artists will want to use, consider clicking on the Subscribe button and the notification bell.

[00:07:04]​ About Heidy “DinizBR” Teixeira

For our fifth episode, I’m honored to welcome today’s guest, Heidy Teixeira. He’s a digital 3D, VR, and AI artist, a photographer and painter who grew up in Sao Paulo and currently resides in Santa Catarina, Brazil. I’m a true believer that a life rich in a variety of experiences is the ultimate palette for creative expression, and Heidy has already lived quite a full life. Around eight years of age, his mother would allow him to travel with his uncle’s circus as a clown and magician’s assistant. His father, grandfather, and uncle were well-known photographers in Brazil. To make his own way out from the shadow of his family name, and in honor of his mother who often showed him the ways of art and believed in his potential, Heidy took on her surname and country abbreviated as his online artist name, DinizBR.

He struggled with both a drug addiction over the course of six years, as well as the deaths of his younger brother, uncle, and father. He overcame the addiction and gave talks, both to schools and with the police, to young people for private institutions like Rotary Clubs and government projects. When a friend introduced him to cryptoart, it gave him a real purpose and the motivation to pursue his dreams. His works can be seen at his gallery in the virtual world of Cryptovoxels, as well as Async, MakersPlace, and KnownOrigin, and on his website, dinizbr.art. He was featured Artist of the Week for his political art piece, “The Killers.” His cinematic pieces have been featured in MakersPlace’s Drops, and he was one of nine artists involved in the collaborative Async art piece, “Pixel Story.” He’ll be talking about the many different meanings behind his newest Async art piece, “Eclipse.”

DinizBR’s Gallery in Cryptovoxels

[Interview begins]

[00:09:09]​ How Heidy’s family introduced him to his creative journey

Ann Marie Alanes (AMA): Andrea, thank you so much for joining us and helping translate. And Heidy, welcome.

Heidy “DinizBR” Teixeira (HT): Okay.

AMA: Thank you so much for your time.

HT: Thank you.

AMA: So, let’s jump right into it. Why don’t you just tell me the story of how you got into art in general?

HT: Okay. I was born in a family full of photographers, and they were all famous photographers: my grandfather, my father, my uncle. They were all in this business, so they told me I should work with them. It was a kind of imposition at first, and that’s the way I first started dealing with art.

AMA: Because you started dealing with art in that way, did you have any negative feelings towards your family about it, or was it more like “Okay, I’ll just do what you say”?

HT: It was not negative. The only thing is that, at first, I had to follow their ideas and instructions on how to do the photographs using light and everything, so I was not free to do things according to my own ideas. But it was positive because after I learned how to do that and people started complimenting my work, I realized that I was very good at doing that, though it was something new for me. And in the end, I realized that it was positive. I wanted to move on. I wanted to have more freedom. But it was very important for me, to my background knowledge in photography.

AMA: Do you still work with your family as far as photography is concerned? Do you create together at all, or have you gone your own way?

HT: Actually, I didn’t work for them. I helped them do their work. And when I went to Sao Paulo, I was invited by some fashion agencies in Sao Paulo to photograph their events, and there, I started working my own way. I had a problem there. I had my first contact with drugs, with cocaine, and it harmed…it was not something good. I lost my track. But I really worked, and my career started after I had this opportunity to work in Sao Paulo, because I was doing a good job, but I had this problem with drugs, and then I had to come back.

AMA: I see.

[00:12:14]​ How Heidy overcame his drug addiction and found hope in cryptoart

AMA: So that’s quite a journey, a struggle for you to be under the control of drugs. How were you able to get out of that (because that can be very hard to do) and get back to creating?

HT: It was very, very hard for me to overcome this time of addiction. It was really, really bad in Sao Paulo when I was there, so I had to come back to my city. And it took me a long time, about six years, to get rid of the addiction. I even went to rehab many times. And it only happened to me, I only got free from drugs, after my father died, because my father was a very rich man, he was a famous photographer, and he was addicted himself to cocaine. So his addiction didn’t help me get free from my own addiction. And my father was murdered, and it was very hard for me, but in a way, after he died, I got free of everything. So now I am free. But it was a real struggle.

AMA: Wow. I’m sorry to hear that. And I’m glad that you were able to find your way out of it. Was there a particular thing that was that light at the end of the tunnel that helped you in addition to your father passing?

HT: Yes. After my father passed, I felt destroyed. I felt guilty. I had that feeling that I failed in everything I tried. People really liked my job, my work, my art, but I failed him. I failed my art. And suddenly I got an invitation from a friend. He found me on the internet. I was kind of hopeless. I didn’t see a future for myself. But then this friend, he showed me a token of cryptoart he made, and that was like, “Wow.” I felt like starting over. I felt like doing that and trying something new and having a new path, a new way. So that’s what happened.

AMA: I see. That’s so great that cryptoart is what helped lift you back up. That’s great.

[00:15:37]​ Heidy’s exploration of different creative processes leading him to cryptoart

AMA: So, before we get into cryptoart, it would be great if you could take us through the journey of how you got into all these other different mediums prior to that. Because I know that you’re into 3D art and VR and AI (artificial intelligence) as well as painting on your photographs. How did you start to paint on your photographs? What inspired that? And then also take us into the different other mediums.

HT: My father used a tool to do great photos. They were very beautiful. And what people nowadays do by using softwares or stuff like Photoshop, my father used it. Painting the photographs: He developed the photos, and then he made some effects on the photos, and then he taught me how to do that. But then came a time that I realized I wanted to do something more authentic, more original, so I started studying the softwares and trying to find something I could use in order to do my art, to have my own ideas on the pieces, on the photos. So I studied the softwares and I got to know all of them and cryptoart. And that helped me move on. I had this feeling I had to move on. I wanted to use more advanced technology to take me to a different point in which I could do different things, different and original things. So that’s what I did. I started getting to know the softwares and all the mediums available, learned about them, how to use them so that I could advance in the art I do.

AMA: So, let’s rewind a little bit more, because I know that in between when your family was teaching you and then there is a point where I know that you started working for these fashion industries. Tell us a little bit more about that as well.

HT: Everything I did were from what I learned from my parents, from my father and my family. I never worked with them. I helped them do their work. And I had the opportunity to work with fashion industries in Sao Paulo, but I first had contact with cryptoart and those technological tools when I was invited by a friend to work with him decorating, creating murals for celebrations and thematic gatherings. So there I could use my own imagination. I could create the images and use the techniques and the technologies I was into. And that’s the way it happened. I stopped working with fashion and started working with what I do now.

Working with Ralph Lauren was a kind of coming back into the fashion industry. I was invited by a friend. She used to work in Italy, and she wanted to make a calendar, and she invited me to take the photos. I was okay. It happened around 2009–2010. I was feeling okay, so I decided to accept. I was excited about it, and I did it. It was cool. But again, I started using drugs again and it was not good. So, in the end, working with Ralph Lauren, not exactly Ralph Lauren, but getting back to this fashion industry was not good to me at all. So I didn’t really benefit from working with Ralph Lauren.

[00:20:33]​ How life experiences, world events, movies, music, ancient mythology and his daughter inspire him

AMA: So, who and/or what inspires you?

HT: My inspiration comes from everything that happens in my life. It comes from things that are going on. It comes from the movies I like to watch. I’m really into movies. And I enjoy ancient mythology. I like to go deep in the things that I really like, study, and know, so my inspiration comes from things like that. For example, when the situation is not positive, is not good, I make some political pieces and I try to show some ideas on the way I feel, what is going on, the restless times. I see things happening in the world, things happening in my own country, so I try to project into my pieces.

But my greatest inspiration is my daughter. She’s a teenager. She’s 16 and she’s in gender transition. I have two sons, two boys, and now this daughter of mine. She wants to be a boy too. It’s different, but I support her because she’s a great girl. She’s such a good person, and she inspires me all the time. So yeah, my inspiration comes from what I experience in my life, things I see, like movies, music, mythology, and my daughter.

AMA: That’s so great that you’re being supportive. Totally. Yeah.

The programmable, dynamic art piece, Eclipse, by DinizBR

[00:22:31]​ About Heidy’s latest programmable, changeable artwork: Eclipse

AMA: So, because of your inspirations regarding ancient mythology, things like that, this would be a great time to actually start talking about your pieces. I know “The Selection of Anubis” was inspired by that. And also, your inspiration with movies and such. I know that I’ve seen also “The Killers” with your inspiration of politics. So it would also be nice to talk more about Eclipse, which is one of your most recent works, for sure. So let’s start with “Eclipse,” the story behind that, meanings, the process and tools that you used to create this, which is on async.art. So, why don’t you take us through this piece?

HT: Eclipse is a special piece. And it’s not just an eclipse. When you see the piece, I always put a lot more than just the image. So what I did was referring to other possible meanings. It could be a representation of abandonment: the abandonment of the sun, the lack of light. And in Ancient India, for example, they believed that there were demons that swallow the sun, so it caused the lack of light. And so there is always something else, something more about my pieces. They are connected to other things that are important to me. So it’s not just about an eclipse, but what it also represents.

AMA: So what is important to you in regards to this?

HT: What I like is that people try to understand the pieces I make, and there are other possible meanings. When you see my piece, you can think of “Oh, it’s a representation of an eclipse,” but there is more. There is more to think of. So I like it. I like the idea of people can interpret, people can read the piece and have their own interpretations, but they can also look for more because there are other possible meanings and references in my pieces. I always do that. I always try to bring more than it just looks. And I like it when people try to understand the references and the different possible meanings that the piece may bring.

AMA: And I see that there are different layers to Eclipse. You have the clouds of background, ring of fire, as well as blue moon. Even though other people may interpret it in their own way, what does it mean to you to be using those different colors?

HT: All the elements in the piece, the layers in the clouds, they may represent and be connected to the four phases of the moon. Each element is going to represent the blue moon, so each phase of the moon.

AMA: And what about the inclusion of the Bitcoin logo?

HT: The inclusion of the Bitcoin logo has to do with this idea of Bitcoin following the same processes. And the demons, before, they wanted to be fed of the sun. Now they are going to the Bitcoin. Everybody wants it. And the demons too, they want to get the Bitcoin. So this is why I decided to use the logo in the piece as well.

AMA: It’s almost like everyone used to worship the sun, and now they worship Bitcoin.

HT: Yeah.

AMA: Yes, I get it. One thing that really touched me was when I read the description, especially the latter part of it. It says, “While the scientific community is still connected to measurements and quantitative bias, art and metaverse takes us out of reality and takes us to a beautiful and charming place.” What are your thoughts on that? Why did you include that in the description?

HT: Looking at the piece, looking at Eclipse, and considering it’s just an eclipse, it’s just like having the same notions that the scientific community has. How do the scientists see an eclipse? For scientists, an eclipse is just numbers, the distance between the sun and the moon. So they represent only numbers for the scientific community. But when it comes to art, it’s different. So what do we see? What can one see in the art perspective when looking at an eclipse? It may take you to a different place, to a different moment, and you may see different things.

AMA: How about the ring of fire?

HT: The two rings, they have to do with the two different eclipses that are solar and lunar eclipses. So they represent the ring that is formed when we have a solar eclipse or the ring that is formed when we have a lunar eclipse.

AMA: Okay. Wonderful. And how about the clouds of background?

HT: Since eclipse is something that happens in the sky, clouds should be there. But I didn’t want only the clouds the way they are, the way they look, so I decided to manipulate the background. And I brought the idea of alchemy, this mythological idea of the changing of metal into gold. I tried to bring this idea into the effects and the way I built the background clouds. I didn’t want them to look like normal, regular clouds, so I brought this idea from mythology into the piece.

AMA: I see. It almost seems like it’s different chemicals or different elements mixing together.

HT: Yeah.

AMA: Right. I can see that, for sure. And there’s also one background here that has a very distinct shape to it, almost like a moth or a butterfly. I’m not sure if there’s anything that you’re trying to say with that. Do you have a message there?

HT: The background itself doesn’t have any specific meaning. But I decided to use the images as a reference of the movie. I think the title in English is “The Silence of the Lambs.”

AMA: Ah. Okay.

HT: Yeah. So I wanted to refer to the movie, so I brought the elements so that people could have this connection, make this connection with the movie. It is an image that reminds us of the movie, but it was incidental. It was not intentional. In the end, I liked it, the way it looked in the piece, and I decided to keep it.

AMA: Okay. So it’s aesthetic. It’s more of an aesthetic.

HT: Aesthetic, yes.

AMA: So that’s Eclipse.

Click here for the full video with music for “The Selection of Anubis” by DinizBR

[00:32:04]​ About Heidy’s cinematic video artwork: The Selection of Anubis

AMA: Let’s move on to “The Selection of Anubis,” which is on makersplace.com. Tell us more about that. I see that ancient mythology plays a role in this piece.

HT: This piece is the one I really like. It’s very, very cool because it refers to Ancient Egypt, and it brings ideas of the justice scale, and it’s a reference of Matrix. For example, when Neo, he had to choose between reality and fantasy, so you have the presence of the pills, the blue and red ones. So they are elements from the movie Matrix. And there is also something about this piece. This is what I like the most. The soundtrack is amazing. It’s fantastic. So it’s a very, very elaborate piece, and I really like it for the references it brings.

AMA: What is it about the soundtrack that really caught you?

HT: What I like about the soundtrack is the rhythm, the beat of the song. I love music. I learned to play the guitar on my own. And that’s my criteria to choose. So, according to the beats of the song, I kind of feel the piece, the connection between the piece and the song, the music. So that’s what makes me choose the soundtrack.

AMA: Very, very cool. I notice that there are a lot of different pieces, almost shards breaking away from Anubis. Is there a meaning behind that, or is it more of an aesthetic thing?

HT: The small pieces, they have more aesthetic meaning. They do not represent anything special. The important thing for me are the hands of Anubis because the hands of Anubis are in the same position as a scale, and what I had in mind was referring to justice and the justice scale. So the small pieces that appear, they compose my idea of connecting what is modern, what is contemporary, what is ancient. So it was part of the composition of the piece, as well as the soundtrack. I like to choose different soundtracks for the pieces because I think the collectors, they may enjoy and like different rhythms and beats. But I always like to think of something contagious, something that could attract people for its beauty and for the meaning.

AMA: So it’s a catchy tune. You can’t escape the tune. Yeah, that happens a lot with music. You call it “The Selection of Anubis.” So Anubis is deciding between the red pill and the blue pill. Do you believe that the red pill would be representative of justice? Is there some type of parallel there or some kind of connection regarding the pills themselves and justice?

HT: It is a reference for the movie. Only that. The pills don’t have any other connection with the piece itself.

AMA: I see.

HT: But the hands of Anubis, they are important to understand. This sense of justice I wanted to bring to the piece.

AMA: I see. The fact that you have a choice, is that very important to you? The fact that there is a choice there for you to be able to make?

HT: Yeah. You always have a choice.

AMA: Okay. Wonderful.

[00:36:27]​ The mysterious person who lifted Heidy out of hopelessness and into cryptoart, and what it was like to enter the cryptoart world

AMA: I do recall you saying that a friend actually helped you come into the cryptoart space. Let’s do a shout out to your friend. Who is this person who helped you? Is this person active in the space now?

HT: Yeah. He is @mandelsage. He lives in Brazil, but he was born in Africa. And I was recovering from my drug addiction when he contacted me and he offered me to buy a token. And when I saw the token, it kind of blew my mind. I was kind of lost. I didn’t know what to do. And when I saw that it was so amazing, I started following people who were working with this or doing cryptoart, and learning from them. It seemed a new way for me to follow. So this friend is very important. He used to do cryptoart, and then he stopped for a while, but he’s back. We are together. When I first started working, I started studying people, what they were doing, what kind of art they were producing. So it was really important. It was a new beginning.

[00:38:16]​ Experience of using Async, MakersPlace and with the platform teams

AMA: Talking about your experiences with the different platforms that you’ve put your art on, that would be including Async, MakersPlace, I think as well as KnownOrigin too, right? What have been your experiences as far as getting accepted onto these platforms and just working with the platforms, the team, the communities around each of these platforms?

HT: It was not easy in the beginning. I had to follow the process for joining the platforms. But Async and MakersPlace are fantastic platforms. Async, oh my goodness. The people who support the platform, they are very competent. It’s great working with them. I only have good things to say about them. And everything happened naturally. I submitted. I did everything I had to do. I did it right. So everybody who does everything accordingly doesn’t have problems to work with them. I didn’t have any special help from anybody. I just followed the procedures. Oh, wow, it’s great working with them. Both Async and MakersPlace, I have been working with them and it’s been great.

AMA: I’m glad that you’ve had such a great experience with them.

[00:40:20]​ Benefits of the cryptoart world vs. non-cryptoart platforms)

AMA: Are there any particular benefits that you’ve observed now having your art pieces on a cryptoart marketplace as opposed to maybe you’ve had it on other websites that are not blockchain-related, so artists who are interested in joining something like Async or MakersPlace can hear what you have to say about the differences?

HT: It’s very beneficial because the cryptoart gallery, they help you make your work visible. And most collectors and buyers, they are well-known. So it’s fantastic to have this opportunity to have your art exhibit and shown in places where you have to pay for them. But you always have to do that. But the greatest benefit is that you can show your art. It’s visible for people who enjoy, who like it, and it’s available.

[00:42:00]​ The challenge of entering the cryptoart world

AMA: What about struggles using blockchain to exhibit your art? Any personal struggles, or struggles you’ve seen around the community as well? Is there anything that people should know about?

HT: I wouldn’t say struggle. I would say challenges. The most challenging thing was you have to be patient for people to get to know your art, to get to know and start having feedbacks on what you do. It doesn’t happen instantly, so you must be patient in order to give people the chance to know what you do. This is the most difficult part because you want to see things happening fast. So I would say, be patient, because if you do everything accordingly, if you follow the rules, if you follow the procedures, things happen in the right way, in the right time.

[00:43:07] Advice for artists wanting to enter the world of cryptoart

AMA: And I would gather that would be your advice to someone coming into the cryptoart space: to be patient. Is there any other advice that you would share with someone coming into the space?

HT: Be authentic.

AMA: That’s very important.

[00:43:24]​ Advice for people developing new cryptoart platforms

AMA: And what about for the people who are developing blockchains or creating new art marketplaces? Do you have any suggestions or advice for them in order to make your experience even better?

HT: My advice to blockchain developers is almost the same. Try to develop the platforms that people can get access. But think of new ideas, new formats for the platform, so that you become famous for the platform, but not because you do the same things, but because you do different things. So, be original. Be authentic. Try to create platforms that are going to be different and original.

AMA: Yeah. I think that Async is very good at that. They’re very much at the leading edge because they have programmable art which changes depending on what the artist sets for that piece. So I think that’s wonderful, and that would be a great place to start to explore something like that, especially with Heidy’s piece, Eclipse.

[00:44:49]​ Bonus Eclipse gifts!

AMA: Now, I actually saw your mug. Your mug actually has Eclipse on it. The mug that you’re drinking from.

HT: Yeah.

AMA: That’s awesome. Are you selling that? Can people buy that?

HT: No. I make some pieces to give as gifts. So I made the mugs and also some other items, and they will be sent to people as a gift.

AMA: Oh, that’s wonderful. It looks really good on the mug. It really does. Looks good.

[00:45:26]​ Current & upcoming projects, collaborations

AMA: I guess this would be a great time to start talking about any upcoming projects you have, current projects that you’d like everyone to know about.

HT: There are two projects on the way. One of them is going to be work with Async. This project is going to be a kind of competitive one. The owners of the layers, they will be kind of competing for this project.

AMA: Oh.

HT: It’s VR art. And another that is going to be launched on MakersPlace, that is also VR, but it’s going to be an immersive VR piece with collaboration of a very famous artist from MakersPlace. So it’s going to be immersive because some elements will be inserted by this artist. His name is Legendary.

AMA: Ah, okay.

HT: Yeah. They are going to work together in this other project. He’s also thinking of having some concrete pieces, physical pieces as well. So he is going to work with [47:04]. He is going to create some physical pieces in order to send the virtual and the physical ones.

AMA: Oh, that’s always a nice bonus to get the physical piece as well.

HT: Yeah.

AMA: Yes. That’s exciting. Very exciting.

HT: The animated project is going to MakersPlace, and the physical ones are going to Async.

AMA: I see. Okay. That’s very exciting. I’m looking forward to what you come up with.

[00:47:45]​ How to contact Heidy

AMA: So, where can people find you? Where can people see your work? And how can they contact you?

HT: I don’t have many social medias. I don’t use many social medias. People can find me in Twitter and also on my website, dinizbr.art.

AMA: Also, you’re on Cryptovoxels. I think people should experience your art as well on Cryptovoxels.

HT: Yeah. They can visit the Cryptovoxels. My pieces are all there. They’re all available for people to see.

AMA: Did you create the building itself? It’s blue and black. I love the rooftop. It has a very cool pattern to it. And Eclipse also is highlighted. It’s a full wall of Eclipse. So I think people will enjoy seeing that in that environment.

HT: Yeah.

AMA: Yeah. Is there anything else that you want to share with the audience?

HT: Only wait for the new pieces because you’re going to find very interesting things to see. So, follow me.

AMA: Very excited. Thank you so much for your time. Thank you, Andrea. Thank you, Heidy, for sharing everything about your journey through art into the cryptoart world. I appreciate that. Thank you, Andrea, for translating and for helping us to communicate, which is very important.

Andrea: Thank you for the opportunity.

AMA: Okay. All right. Have a good night. If you haven’t already, please help support this channel by subscribing, clicking on the notification bell, and smashing that Like button. Thank you, my Rare Digital Birds. Until next time. Fly high.

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Pastry-loving stan of the NFT crypto art and music space, and your self-appointed stylist. I am not funny.

Pastry-loving stan of the NFT crypto art and music space, and your self-appointed stylist. I am not funny.