Hyperrhiz 29
An Interview with Ganbrood: AI, Blockchain, and the Evolution of Post-Digital Art
Bas Uterwijk
(Ganbrood)
Interview by
Merve Güven Özkerim
Citation: Uterwijk, Bas and Merve Güven Özkerim. “An Interview with Ganbrood: AI, Blockchain, and the Evolution of Post-Digital Art.” Hyperrhiz: New Media Cultures, no. 29, 2025. doi:10.20415/hyp/029.int02
Abstract: This interview critically investigates Ganbrood’s creative methodology in relation to digital technologies, highlighting its socio-cultural and economic dimensions.
Keywords: AI based art, generative art, blockchain, GANs, post-digital, chimeric form.
Merve Güven Özkerim: How do you create chimeric and hybrid transitions between humans, animals, various organisms, and even planets in your artificial intelligence-based works? Do you think these works sometimes evoke associations with dystopian and post-apocalyptic characters and universes?
Bas Uterwijk Ganbrood: Throughout history, humanity has displayed a persistent aspiration towards godhood, irrespective of individual religious beliefs. From a secular standpoint, it becomes evident that the concept of God(s) has been fashioned in the likeness of human beings, rather than humans being moulded in the image of divine entities. Concurrently, there exists a tendency to disregard the fundamental animalistic nature inherent within us. Contemplating artificial intelligence (AI) as a metaphorical mirror offers a lens through which to scrutinise our essence. Notably, dystopian and apocalyptic narratives often intertwine with cultural expressions, reflecting humanity’s historical predilection for such themes.
Merve Güven Özkerim: Is there a conscious individual, societal, or political issue at the core of your works, or do they evolve from a more process-oriented, algorithmic, or random standpoint?
Ganbrood: Having grappled frequently with rationality and analytical thinking, I’ve gradually recognized that my authentic expression stems from a realm governed by intuition. Through my experiences as a photographer, I’ve discerned the potency of happenstance, unpredictability, and serendipity as formidable instruments for unveiling the depths of the human soul. These elements possess the capacity to reveal facets of the self that transcend reasoned, albeit superficial, considerations and concepts.
Merve Güven Özkerim: Do you believe that your photographic intuition and perception are effective in producing strong allegories, mythological, and symbolic narratives in your artificial intelligence-based works?
Ganbrood: My approach to generating synthetic images via neural networks is deeply rooted in the rich history of visual storytelling, which encompasses both perceptual and emotional dimensions. Drawing from my extensive 14-year tenure as a professional photographer, intuition plays a pivotal role in my creative process. This intuitive approach is further informed by a longstanding symbiotic relationship with technology, which I have cultivated over a lifetime as a means of self-expression.
Merve Güven Özkerim: How do you benefit from blockchain technology in your works? In your opinion, what advantages and disadvantages does the use of this technology bring to post-digital art practices?
Ganbrood:The adoption of blockchain technology for me personally, is driven by two primary considerations. Firstly, the inherent lack of scarcity in digital art, unlike traditional mediums such as paintings or sculptures, necessitates the utilization of cryptographic technology to introduce a synthetic form of scarcity. This mirrors historical practices such as producing limited editions of photographic prints or etchings. Secondly, the onset of the Covid-19 pandemic resulted in a significant slowdown in my contract work as a reportage photographer, prompting the exploration of alternative sources of income. Simultaneously, my proficiency in AI had reached a notable level, coinciding with the explosive growth of the NFT market. Recognizing this opportune moment, I opted to explore the domain of NFTs.
Merve Güven Özkerim: In your opinion, have art and technology developed historically within power relations, and have their basic principles been shaped by this dynamic?
Ganbrood: Art has historically found a way to manifest itself in various circumstances, as evidenced by individuals composing poems and creating paintings even within the confines of prison cells. The crucial consideration lies in what endures over time. Throughout history, power dynamics have played a significant role in either stifling or promoting certain expressions. In this context, I believe that digital art and blockchain technology are playing a pivotal role in the liberation and empowerment of both art and artists. The unprecedented ease with which creators can generate and disseminate their work globally is reshaping the landscape of artistic expression.
Merve Güven Özkerim: Do you think the concepts of post-digital and post-internet have any meaning in terms of understanding your own work?
Ganbrood: I believe that every art form is inherently intertwined with the time and culture in which it originates. In my perspective, my work serves as an exploration or examination of a relatively recent technique that is rapidly becoming ubiquitous within both my personal sphere and the broader cultural landscape. Nonetheless, I aspire for my work to resonate beyond the confines of rational understanding, fostering appreciation that transcends the need for extensive contextual knowledge.
Merve Güven Özkerim: Do you believe there is an equivalent to concepts such as originality, creativity, uniqueness, and aura in post-digital art?
Ganbrood: Certainly, these four notions are fundamental to art. However, I believe that the widespread accessibility of AI image generation has created a significant challenge in implementing these principles effectively. This challenge distinguishes the amateur from the artist and underscores the constant struggle for the latter: the ongoing endeavor to infuse meaning and complexity into the outputs despite the ease of their creation.
Merve Güven Özkerim: If the history of post-digital/post-internet art were being written, how would you position your works within them?
Ganbrood: I think I was lucky to be an early adopter of these techniques (although there are always pioneers before me) . At the same time, I think my whole life and career was a stepping stone to this. I don’t think I would have even recognized the possibilities or being able to utilize them as I did if it wasn’t for my experience in 3D, special effects, videogames and photography, together with a lifelong passion for art, comics, movies and games.
Time (and others) will tell the exact place my work will take in the evolution of this new art for which I predict to be one of the most important of this age.
