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1. Tell me about something you liked as a child.

 I grew up in the 80ies, loving comics, pirated films on VHS and video games. I also got very
early into programming and soon found that more fascinating than the video games.

2. Who is your favorite writer? (Art, books, games, etc.)

 I mostly read non-fiction, but I get the most inspiration from film, and the directors whose work
has a strong visual component, like Wong-Kar Wai and Jacquest Tatí.

3. What was your personal motivation to work on art?

 I was always doing creative things, as far as I can remember. I think over years and decades I
developed some sort of addiction to creative work, like I get a kind of high when getting to make
something that I like. That high usually goes away quickly, so I need to work on the next thing.

4. What is the important part you would like to talk about through art work?

 Over my 25-year practice as an architect, designer, coder and design professor, I developed a
keen interest in the psychology of aesthetics—why are our brains wired to perceive things as
beautiful or intriguing? This led me to establish this alter ego, Dr. Formalyst, to explore how
visual elements, in their pure form, impact our perception and emotions. I am particularly
interested in generating a discordance in viewers by contrasting the emotions elicited by a
work's form with those arising from what the work actually portrays.

5. Tell us about your worldview to understand your work, and what methodology do you
use to capture it in your art?

 I’m a kind of science-oriented guy, so I like reasoning, which is something we see less and less
of. As a res ult of that, I think I gotten quite a bit cynical and sarcastic, and I guess it shows in my
6.  In your work, you seem to be pushing the limits of the body and gravity. What artistic
value can an extraordinary representation of the body that defies gravity have?

 I try to observe both form and movement in an abstract way, so it may sometimes result in work
that behaves according to its own principles of physics that may not relate to how the real world
works. It is especially evident in my depictions of the human body where both its shape and the
way it moves surprise the viewer. As such work can contradict our expectations and
preconceptions about the human body, at best it can induce strong feelings such as elevation,
freedom but also heaviness, discomfort and disgust.

7. Why did you start NFT ART?  

 I’ve been on and off active in NFT space from October 2021.

8. What is the most memorable moment while doing NFT ART?  

 Personally for me was the daily auction of “Almost Human” the project I’ve done with Irina
Angles that was curated by Fellowship. It gave my work a greater visibility, but actually the biggest thing is that now this continuous involvement with Fellowship is helping me to grow as
an artist a lot.

9. What do you think about the risk of hacking while working on NFT art, and what measures can be taken to prevent it?

 Anyone doing anything with NFTs is getting contacted by scammers on a daily basis. The best
measure is to be very careful, as most hacks come from hacking the persons, not the

10. What do you think is the role of an artist today?

 I’m not one of those artists who think art can change the world. But at its best, an artwork can
make a lasting impact and a change in a way that an individual person thinks, observes and
reacts in the world. And for me, it’s good enough.
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