Dangiuz’s Digital Dystopia: The Genesis of Antimatterworld
Leopoldo D’Angelo, better known as Dangiuz, stands as a figure synonymous with disruptive innovation. Seamlessly blending admiration with a nuanced fear of the future, his work encapsulates the paradoxes at the heart of our digital era — a time marked by profound connectivity yet underscored by an underlying sense of detachment. Central to his artistic universe is Antimatterworld, a platform that stands as a testament to his challenge against the conventional, uniting a diverse spectrum of visionary artists under one groundbreaking vision. This exploration delves deep into Dangiuz’s unique philosophical approach, unraveling his artistic evolution and the transformative role of Antimatterworld in reshaping the contours of the digital art landscape.
Background & Influecees: The Artist Behind the Alias Dangiuz
Born in Turin, Italy, in 1995, Dangiuz began his artistic journey at a young age. His formative years in the culturally rich environment of Turin, a city with a strong heritage in art and design, significantly influenced his creative outlook. Dangiuz’s education at Bodoni Paravia, a high school specializing in Graphic Design and Photography, helped Dangiuz in laying the groundwork for his later success in digital art.
His Italian heritage and diverse professional background as an art director and graphic designer are deeply woven into his digital creations. This rich tapestry of experiences has given Dangiuz a unique perspective in the digital art world. His works, encompassing a range of themes from techno-futuristic cityscapes to dystopian worlds, demonstrate not only a deep understanding of architecture and urban design but also an insightful exploration of human emotion and experience within these spaces. Each piece is a reflection of his journey, blending his cultural background, educational experiences, and professional insights to create a distinct and compelling visual narrative.
Dystopia and Connectivity: Dangiuz’s Digital Art Ethos
Dangiuz’s art is an engaging blend of philosophical musings and sci-fi intrigue. His process is deeply personal, translating his emotions and insights into digital canvases that range from abstract interpretation to pointed social commentary. This dynamic interplay enriches each piece with layers of meaning and invites the viewer into a realm of thoughtful introspection.
Rooted in the aesthetics of Cyberpunk and Synthwave, Dangiuz’s style is a harmonious blend of dystopian futurism and nostalgic elements. He channels his fascination with dystopian themes, evident in his appreciation for seminal works like “1984” and “Blade Runner,” into his art, creating a unique visual lexicon that speaks to the complexities of our times.
Dangiuz’s reflections on the future encapsulate concerns about climate change, resource scarcity, and the ambiguous role of technology in shaping human destiny. His art serves as a contemplative space, probing the paradoxes of technological progress and its impact on humanity and the environment. This nuanced portrayal not only adds depth to his art but also challenges the audience to consider the multifaceted implications of our technological trajectory for generations to come.
The Genesis of Antimatterworld
Antimatterworld’s inception marks a transformative era in Dangiuz’s artistic journey, embodying his vision of merging art with technology in a groundbreaking way. This unique, zero-fee platform caters specifically to sci-fi and fantasy artists, offering them a space free from conventional market limitations. The platform’s debut collection showcased a rich tapestry of styles and visions from an array of talented artists, each echoing Dangiuz’s ethos of innovation and collaborative spirit.
The inaugural collection on Antimatterworld showcased a remarkable array of talent, featuring 35 artists, each with their own unique contribution. This list includes Darius Puia BakaArts, Youssef Gamal, Brellias, Thomas Dubois, Ted Chin, Adam Courtenay, Reza Afshar, Pascal Blanché, Shaun Jonas, Marco Zagara, Raphael Lacoste, amirzand, synccreation, Mari, Chromfell, Kafein, TOKYOLUV, idil dursun, Atmonez, Annibale Siconolfi | Inward, Kenva, Cabolt-x, DM Designs, Desmond, Kero, Salman, Làzaro, Ataberk, Dylan Newton, stuz0r, Calder Moore, Whalesink, Austine, GSD, and irene powder. Each artist, in their unique way, added depth and dimension to Antimatterworld, making it a diverse and vibrant showcase of contemporary digital art.
In Conversation with Dangiuz: On Antimatterworld
In an insightful interview, Dangiuz shares his creative process, inspirations, and thoughts on the future of technology and society. He discusses his artistic evolution and his vision for Antimatterworld, shedding light on his role as both a creator and a curator in the digital art world.
Fakewhale: In your work, you bring together digital art and intricate sci-fi narratives. Can you share the core philosophy or the seminal experiences that have shaped your artistic approach and vision in this direction?
Dangiuz: At the core of my art there’s that endless fight between being an admirer of the future and having fear of it. My work is both a critique and an embrace of that up and coming ever-digitalizing world, where the paradox comes to life: we are connected to everything but at the same detached from everything else. They say we spend about 1/3 of our life sleeping… The rest we spend it on the internet. Probably.
Fakewhale: Can you walk us through the initial spark or inception of a sci-fi concept to its realization in your art? What does your creative process look like?
Dangiuz: My creative process is not really straightforwarded. I often start without an idea, just moving things around in 3D, which is my main medium, (I use Cinema 4D and Octane Render) and then try to come up with something different every time. I may get inspired from something as I build the scene, some other times though I start with a clearer idea of what I want to make but then end up switching into something else mid way, it’s not always one or the other. But as soon as I get ‘there’ with the scene, things start falling together and a new piece is born.
Fakewhale: Sci-fi often mirrors deeper philosophical questions about human existence. How do these philosophical underpinnings shape your body of work?
Dangiuz: Like I said, it’s an endless battle between being an admirer of the future and having fear of it. Sci-Fi constantly questions matters like ‘crossing the line’, be it regarding privacy, body modification, morality and so on. I like to think people like my art not just because they say “oh this is really cool looking”, but also because after the first glance they might see something in that, that it’s not so cool if you were to live that life. Sci-fi and Cyberpunk are not just about aesthetics. Cyberpunk especially – it’s dark and about discrimination, no privacy, no freedom, no respect for human life or nature, in a world where only the strong and rich get by.
Fakewhale: Not to mention that there’s often a fine line between utopia and dystopia. How do you navigate this duality in your work?
Dangiuz: When I think of utopia, I think about something that will never happen. This could apply to my art if we’re talking aesthetics, floating bridges, flying subcompact cars and whatnot. But if I think dystopia, that’s exactly what I fear it may happen… which is everything else you see in my art.
Fakewhale: Earlier this year, you created Antimatterworld, a 0% fee curated platform dedicated to both emerging and established sci-fi/fantasy artists. What was the catalyst behind creating this platform, and what does the process of curating artists and collections here look like?
Dangiuz: I feel like many times there’s a shortage of artists representation in our space, in the broadest sense of the term. Every time someone comes up with something, the basic instinct is to defend the territory and their turf, gatekeeping anyone else doing a similar thing and sort of labeling someone else as a copy, or stuff like this. It is all very subtle, so it’s not something that happens publicly or broadly. But it’s still a strong mentality, which I find funny because realistically, nobody nowadays has really, actually, invented anything or came up with anything *first*. I created Antimatter because I wanted to do exactly the opposite, and wanted to gather likeminded artists of all mediums under the same “flag”.
Fakewhale: In what ways do you believe the name “Antimatter” resonates with the ethos of the platform? What led to the choice of this name?
Dangiuz: Quoting Wikipedia, “in modern physics, antimatter is defined as matter composed of the antiparticles of the corresponding particles in “ordinary” matter”. Quoting myself in the previous question, I sort of wanted to go against the grain and that ordinary mentality… and so, being “Anti” came natural.
Fakewhale: What led to the choice for the zero-fee structure of Antimatterworld and how has it impacted the art that’s being produced and showcased?
Dangiuz: I feel like artists, especially smaller ones, don’t need to give up further shares of their sales to have their voices heard louder. I have the pleasure to curate artworks from Sci-Fi legends like Raphael Lacoste, Reza Afshar, Pascal Blanché and Philippe Druillet among many others. Having their trust is something I’m really proud of, not only because the artworks are of the highest quality but because with one simple move I was able to bridge many different worlds, mediums, generations and figures together.
Fakewhale: Can you delve into the conceptual foundations that underpinned the debut works on Antimatterworld? How did these concepts align with the broader vision of the platform?
Dangiuz: Unless there’s some particular theme or concept I want to curate and come up with, artists have the complete freedom and control over choosing what they want to put out, when, what price and what quantity. Self-sovereignty is and will always be prioritized. The debut works were amongst these same lines, and I find it cool because what came out was the inner nature of each artist.
Fakewhale: Sci-fi often explores alternate realities and futures. How do these themes manifest in the digital artworks curated on Antimatterworld, and how do they resonate with contemporary societal or technological developments?
Dangiuz: They most definitely do. Each artist is focused on what they do best, be it aesthetically pleasing cyber cities, android-dominated countries or AI generated artworks which is, per se, already controversial and dystopian. I feel like the human feel of each artist encounters the unknown of the future and every piece of the puzzle falls into place.
Fakewhale: What are some upcoming projects or collaborations to keep an eye on Antimatterworld?
Dangiuz: Early 2024 I look forward to opening submissions to everyone and to start curating monthly drops if I manage to. Could be something like every two months as well. My main goal is to curate different artists every time, with a slight focus on smaller ones, and act both as a curator and a collector. I’m working on a lot of different things so it may for sure take a while.
Beyond Art: Dangiuz and Antimatterworld’s Future
Dangiuz’s journey, intertwined with the inception and growth of Antimatterworld, narrates a story of artistic evolution and societal reflection. His creations delve beyond mere visual appeal, probing the ethical and societal dimensions of our increasingly digitalized existence.
Antimatterworld emerges not just as a platform but as a symbol of rebellion against the status quo, championing a community where creative liberty and collaboration flourish. This journey with Dangiuz through the realms of digital art not only redefines aesthetic boundaries but also invites us to critically engage with the complexities of our relationship with technology. In doing so, Dangiuz sets a visionary path for future artistic exploration, one that promises to continually reshape our understanding of art in the digital age.