INTERVIEW: In Conversation with Noble Gallery

CAL: "I am an artist living in Southern California. In the crypto art community, I've been gaining recognition for pushing the boundaries of vector art with my hyper-detailed vector realism and my candid portraits of the Golden State."

For an audience who may be seeing your name and art for the first time, tell us about Cal:

How has your artistic practice evolved over time, and what key experiences or influences have driven this evolution?

CAL: "You know how every article on Wikipedia on a person starts with '[name] was a ____'? Something about being defined has always made me feel so unsettling, so finite.[...] I refuse to be finite to myself."

From a young age, Cal realized art was about sparking conversations and connections; externalizing an idea and inviting others to join. Over the years, he's become fluent in a number of mediums, spanning visual, written and auditory - he seeks to be a master of none, but strong enough to express an idea in many.

"I fell in love with California, and create love letters to celebrate it"

What is something people don’t understand about your art or body of work, that you wish they did?

CAL: "That my hyper-realism pieces are not photos :) Many have told me that they thought these were photos, which makes me wonder how many never did. And I think this is the biggest challenge with realism in general, especially when most people interact with your art on small phone screens."

Looking into the future, how do you envision your art evolving, and what new territories or themes are you eager to explore?

How do you feel about the current state of the art world, and where do you see yourself within it?

CAL: "We often hear that there is no such thing as bad art or good art -- that everything is art. And who am I to define everything if not even Steven Hawking could do that? :) Seriously though, what i am saying is that it's more of an art universe than it is a world. In this universe, there's a world where a rock goes for $400k, and another where an oil painter struggles to get $100 for their work. It's a world where artists break into a cold sweat just thinking about raising the prices for their 1/1s by 0.1 ETH, and another where flippers mint a 10k gen project for 0.06 ETH, list it for 6 ETH, and others tweeting how happy they are to acquire that grail for a reasonable price. Where do I see myself in all of this? Here, exactly here. Creating and sharing ideas with you just like I am right now. Some people will connect with it, and our paths will intertwine, while others will find something they connect with elsewhere. You can't be everything to everyone. But you can be someone for someone. And that's enough."

What changes or developments in the art world excite you, and how might they influence your future work?

CAL: "Blockchain has been creating a very unique environment. With all the negatives of tokenization and gamification of art that the tech brings, more and more people are getting involved in the realm of art. People from all walks of life, from all corners of the planet are creating, collecting, discussing, and influencing one another in so many ways. Art has served many purposes and played many roles throughout history. It has been glorified, demonized, and glorified again. If airplanes and the internet turned the world into a small village, in a way, blockchain might be bringing us all back together into that ancient cave where we share fleeting moments, tell stories, and leave our marks on the walls."

Cal, the Artist: A Symphony of Detail, Vision, and Spontaneity

In the bustling art scene of SoCal, Cal's presence is like a breath of fresh ocean air. His journey from a young poet and doodler to a leader of hyper-detailed vector realism is a captivating tale of evolution and exploration.

Let's dive in.

BIRD ROCK (2024)

vector hyperrealism
30 808 hand-drawn elements

vector hyperrealism :: commission
30 808 hand-drawn elements

THE LONE CYPRESS (2023)

OASIS (2023)

18 x 24 in giclée print

Cal's process is as thorough as it is intuitive. When it comes to his vector art, it starts with an idea, often co-created with collectors. He then dives into exploration, sketches, and immerses himself in the environment, sometimes over multiple trips and a couple hundred photos; all this informs his work in Illustrator, where he creates his vector art.

CAL: "Having those sketches really helps as it serves as a game plan, but I always insist on having the final artistic freedom, as when you are there, you can experience the place and find something new and special about it."

STAIRWAY TO HEAVEN (2024)

vector hyperrealism :: commission
36 165 hand-drawn elements

BIG SUR (2023)

vector hyperrealism :: commission

CAL: "[...] my hyper-detailed vector realism isn't going anywhere. However, pushing the number of elements into tens of thousands in a single piece did make me wonder, rather naturally, what I could do with a limited number. I did a few test pieces; they looked great, the process was fun, so at some point, it is coming... Before I minted my 'COPA DE ORO', which was the first Califormetry release, I already created a three-collection structure, and that is the primary focus. Back then, I also put a note for myself that said 'WET PIXELS', and that was to explore digital painting inspired by the alla prima or wet-on-wet technique in oil paintings. I've recently minted my first work in that new branch of my California-themed body of work."

GREEN LIGHTS OF LAX (2024)

digital drawing

PURPLE SANDS OF TIME (2023)

vector hyperrealism :: commission