Alexia Wright: The name ‘Odious’ conjures a distinctive image. What made you gravitate towards this name as a representation of your artistic identity?
Odious: I think it boils down to contrast. Everything in my art, my style, is all focused around contrast. I had this idea early on, when I saw support for my work online - never thinking I would get to this stage in my career - of creating a clothing line. I thought it would be pretty comical if people were walking around with Odious branded clothing when the term itself means to be disgusting, repulsive, but the prints/designs they are wearing are actually quite beautiful and anything but what the name suggests.
never lose your inner child | Odious | 2021
AW: You have talked about your background in graphic design, which is very different from the NFT world. What would you say is the biggest contrast between the two worlds?
O: I think it would have to be that I am my own boss. Before, I would always work on someone else's dream, and while that gave me enjoyment in the temporary moment, I got to a place where I no longer felt fulfilled. It was like a flick of the switch. I woke up one day and said to myself, “I feel like I am going nowhere with this”. While I feel like I could have continued down this path and made something out of myself, I would not have enjoyed it. Something transpired while I was working on a client’s commission and I just started creating more personal art, never expecting it to take off. I started an X (formerly Twitter) account and left my graphic design days behind, focusing on building a future in which I could potentially run a clothing line featuring my art. As time passed, my X account gained traction, and it became evident that people genuinely appreciated my work.
What struck me was that they saw and accepted me for who I am, finding a connection to my art that resonated with them personally.
This connection intrigued me, motivating me to pursue a path beyond starting a clothing line.
The year 2020 was a turning point for me. I consider myself fortunate to have witnessed the X space embrace art and the world of NFTs. The initial wave included trailblazers like Jonathan Wolfe, Etiene Crauss, and FEWOCiOUS. Watching these individuals carve out successful paths for themselves through this revolutionary approach to monetizing creativity and art deeply intrigued me, and it just clicked. This fascination can be traced back to my days of watching YouTube videos, where I often found myself predicting which creators would skyrocket to fame. I would stumble upon a channel with around a thousand subscribers and would confidently predict that they would blow up in about two years with subscribers in the millions. When this concept intersected with the web3 mindset, I realized the potential to invest in creators who had not yet achieved widespread recognition. It became clear that by placing early bets on talented individuals, I could watch my conviction pay off as they ascended to prominence. This understanding played a pivotal role in my grasp of the web3 landscape, and from there, the rest is history.
AW: One thing you said really caught my attention here, and it is that others see themselves in your art. What do you mean by this?
O: I feel that, while I am creating super personal pieces, there are elements in my work that people can find and latch onto. Sometimes, I haven't even discovered these elements myself. People will comment on it and say that my art is super relatable, that it has helped them when going through something, and that it is meaningful. As soon as people started reaching out and creating that relatable connection, that is when I realized that there might be something here.
I am not just creating alone; people are sharing that aloneness with me.
AW: When you first entered the NFT space, you decided to be faceless and you said that you believed this would allow people to better connect with your art. What prompted your decision to show your face and do you believe it has impacted how people perceive you and your art?
O: I think yes and no. For me it was a big deal to show my face. This goes all the way back to my school life where my confidence got knocked and I never regained it. Back in 2020, I could not even pick up the phone and call someone. There were a lot of reasons as to why I wanted to hide my face. I did not want there to be another reason to be a target for someone, and I guess that just comes down to insecurity. But then the other side is, I could feel a real connection with the people who I was talking to online. It is cool to hide behind this fictional character I have created, but when you know that there is a person behind that character, that is when you begin to feel it is real, and I wanted to give that to my audience. I wanted them to be able to look at a piece and feel like these are genuine emotions that are falling out of me.
Although I am living through this character; a layer below reveals I am living through me and I wanted people to see that.
school taught me a lot | Odious | 2023
AW: You have mentioned being on a journey of repair, building confidence, and dealing with anxiety after suffering severe bullying in school. What does the process towards healing look like for you?
O: The pure fact that I am doing this interview and I am not feeling anxious or nervous, shows that I have come leaps and bounds in that development. I think a lot has stemmed from working at Pixel Vault for the last few years. I have pushed myself into the deep end and gradually regained confidence in myself. I used to get picked on all the time for my voice and, as a result, I never wanted to speak. Over time, I came to realize that this concern is a reflection of the people I spoke with, and I stopped worrying about it so much. Now I am at the point where that is not even something I am anxious about.
AW: You have shared that while growing up, you watched YouTube videos and realized that people can create content, live their passions, and be their own boss. However, only a few people take that leap to the next level. What motivated you to go ahead and pursue your dreams instead of staying in the realm of possibilities?
O: It was never a conscious decision to get to where I am. A lot of things happened, and I just followed that path. One good decision led to the next, and then there would be a few bad decisions. As long as I am making the right choices for me and being genuine about everything that I do, every door that I open, there is a purpose behind it. I always feel like I am sort of traveling along the right path.
One of my main ambitions in life is to eventually have my name in the history books, something that is quite a grand goal, but I am not doing things specifically to achieve that. I want everything that I do to make sense. There has to be importance in the steps that I take. If I take those steps and I do not end up in history books, then it was not meant to be. I am not going to fake relationships, my art, or this journey to make that happen. That is not me.
I wore a mask before, but that is not who I am anymore.
hanging in the balance of truth | Odious | 2020
AW: If you made it into the history books, what would you like people to know about you or to know you for?
O: First and foremost, my art. I would like people to be able to look at my artworks and see the person that I was when I was alive. I think once you have it all - and by no means am I saying I have it all - but once you do, I imagine you get to a point where you want to leave something behind. I want people to be able to keep me in their memories through the artworks I created. If you stand in front of a Rothko painting, you can feel how he felt when creating that piece.
I want people to be able to look back and feel how I was feeling in the moment, without sharing a single word with them – almost like artistic telepathy.
AW: Transforming a rejection into an opportunity requires resilience. When you were told your work would not feature on SuperRare and you faced a 6-month wait, you pushed forward and found a way to gain entry to the platform much sooner. What drove your resilience in this situation?
O: With the SuperRare application, I knew that I had to think outside the box if I wanted to be accepted. I found a direct line to Zach, SuperRare’s SVP, and shared my application with him personally. My application was accepted a few days later and I felt seen. I felt like my art was good enough to be on their platform. Achieving success by going above and beyond to make sure that I made it onto SuperRare was rewarding, because I feel like that was the start of everything.
every door leads to another door | Odious | 2021
AW: When it comes to creating art, what does your process look like and can you describe the environment in which you work?
O: Sometimes I go in with a full-on concept and sometimes I go in with nothing, I free flow and let my mind take over. Sometimes that leads to some of my best work and sometimes it leads nowhere. But as long as I am creating in that moment, distracting myself from everything that is happening on the outside, nothing matters. That is the main focus of one of my artworks on Makersplace called nothing matters when i listen. Essentially, when music is playing and I am in the zone creating, nothing matters. I am in my own world, away from everything else, and it just feels like bliss.
If we are talking about environments, I can create anywhere. I will create wherever, whenever, when I am feeling motivated from being outside at the beach to my bedroom at 4:00 a.m. There are times that I am not up for it, and so I do not force it. But as soon as I get those sparks of inspiration, I am looking for my iPad, my PC. I am looking for anything that I can jot down these ideas. While creating, I listen to a lot of R&B. I like to keep up with the times. When I am super chill, I just want to put on some lo-fi and piano beats and get lost in it. Feel the music, use it as a guide.
nothing matters when i listen | Odious | 2021
AW: How do you decide on the names of your works? Are there certain feelings or ideas you aim to convey through each title?
O: Sometimes I have a name for a piece before I have started to work on it, other times I have the name which then helps me create the concept for the piece. Sometimes I am creating the piece and its name comes to me during the process and other times it happens right at the end. I will step back and examine my work to fully understand what it means to me, and I will name it around that emotional experience.
At the beginning of my career, in order to grow, I created pieces and titles that I knew would be very relatable, very shareable. Starting out on X with 100 followers, I needed to be relatable to be discovered.
That approach shifted when I started to develop my current style. Early on, my work depicted the love story between two characters. People could easily relate to this story as most have experienced love. I then jumped into the deeper parts of my mind and started to create more granular pieces. My style developed with it and I got to a point where my work became so personal that it lost a lot of its relatability. But it created a greater impact for the people that found it and took time to take it in. I was able to create a true connection with those people.
she demands i supply | Odious |2021
AW: Your artworks are colorful and playful, but there is a darkness underneath the surface. What drives you to explore this contrast?
O:
I have this idea that my art is like a Venus fly trap. You look at my work and you instantly think that it is going to be a very happy piece. As you get closer, and as you begin to dive in deeper, you start to unravel all of my anxieties, my negative thoughts, the darker areas of my mind.
People can pick what to focus on when viewing my art. If they want to ignore the dark elements and only focus on the bright colors and the beautiful imagery, they can do that. If they want to step into that darker side of who they are and immerse themselves in art that reflects their feelings, their loneliness, they have the option to do that as well.
AW: Creating art appears to be a way for you to share your emotions. Are there other factors that fuel your desire to create?
O:
Creating art is artistic therapy for myself and others. I want people to look at my art and have a conversation with themselves, have a conversation with me.
I do not have to speak with them for this to happen. Keeping my art vague allows me to have 1000 different conversations with 1000 different people, rather than one conversation with a 1000 people.
When I am creating art, I am alone with my thoughts and when I share it, I am sharing my thoughts with everyone. I enjoy that vulnerability because it allows other people who are observing the piece to feel like they can be vulnerable too. You need to be able to show your vulnerabilities. You cannot just bottle it up, as we know you can get to some really dark places when you keep it all inside.
1000 conversations | Odious | 2023
AW: In a society where people often shy away from being vulnerable, you have openly discussed the bullying you faced in your school years. Sharing these stories can expose you to vulnerability and potential criticism. What motivated you to share these experiences despite these potential risks?
O: My art often reveals my darker side.
Once I decide to create, I am fully invested, leaving everything on the table for everyone to see.
This helps with the genuine intentions behind my art and the connections that it forges. Although I could have concealed that part of myself, doing so might have led to confusion about certain aspects of my work. By revealing this information, I offer a broader perspective that I hope will help people better understand my work.
AW: If you could go back and speak to the Odious that was being bullied in school, what would you tell him?
O: Firstly, I would tell him that things are going to be okay. Life sometimes deals you a tough hand, and you have to learn to handle it. I would tell him to concentrate on himself, ignore the noise, and to stay on the path he has chosen. I always had the intention to do something creative, and maybe that was sparked because of my experience in school.
I would not change anything I have done up until this point, I am not ashamed. If anything, I reflect and realise how transformative the trauma has been.
i know you’re hurting, but it gets better | Odious | 2020
AW: You created Odiville, a digital world you have called your creative playground. Can you tell us more about this project?
O: My mind is always brimming with new ideas and I enjoy envisioning these concepts within the context of the web3 playground. I am excited to bring creative ideas and push boundaries within this space, contributing to the broader drive for advancing innovation. Odiville represents a concept where everything that I create in this realm converges within an interactive, immersive universe. I have devised a character that complements my art, aiding in the mental transition to a realm that is not entirely grounded in reality. People have the option to gain a better understanding of me, Josh, or stay on the path aligned with Odi. This allows participants to choose their level of proximity to my work. I aim to establish relatable characters that people will be able to connect with on various levels.
As an artist, there are times where you might feel constrained to create the same type of work because that is what people expect you to do. This can be both a blessing and a curse. It is how you gain recognition, but it can also impose creative constraints. With Odiville, I aim to introduce a novel concept.
AW: Odiville is an ambitious project, how do you see it evolving over the coming months?
O: I have several exciting projects in the pipeline for Odiville. One of the major endeavors is a complete overhaul of the Odiville website. This update will aim to provide a more immersive and user-friendly experience for everyone involved in Odiville so far. Additionally, I am working on a gamified experience called Decisions, Upsets, and Unknowns. This experience is being developed in isolation so that I can release updates more frequently and keep the Odiville community engaged. The experience revolves around the theme of sacrifice and will feature decisions, upsets, and unknown elements. It is designed to be an interactive storytelling experience where participants unlock new art and make choices about what to keep and what to burn as they progress through different phases of the game. This game provides participants with the flexibility to collect more of the story at their own pace, offering them the freedom to stop at any time or continue to the end.
I believe there is something beautiful about giving people the choice to engage with the story in their own way.
The experience is centered around the concept of tickets, which are a fictional currency within Odiville. I previously conducted a successful ticket sale, which introduced over 2000 new participants to the ecosystem. These tickets hold great weight in Odiville, and every activation within the project will place a strong emphasis on them. While I intend to maintain the importance of tickets, there will also be options for other cryptocurrencies, such as Eth and possibly GG, in the future. However, tickets will continue to be a key element in everything I do within Odiville.
play to learn | Odious | 2023
AW: Is the Odiville story still evolving in your head or do you have a clear vision of what it will look like?
O: I have the entire experience mapped out. My aim is to ensure that all of the pieces are perfect before releasing them. I have come to realize that some of my more ambitious ideas require a significant amount of time and effort to bring to life, involving collaboration with the development and design teams, among others. Initially, I envisioned this experience to run seamlessly from week to week. However, there have been some delays along the way. The reason for these delays is simple: I want Odiville to be immersive, purposeful, and provide the best possible experience for those engaging with it. For instance, there were moments where I thought, "this will do," but then I received feedback from users who were unsure about certain aspects. This prompted me to reevaluate and improve various elements of the experience. As I delved deeper into enhancing the user experience, I found myself generating more and more ideas. This can be both a blessing and a curse, especially for someone who constantly generates new concepts. Nonetheless, I am confident that the projects I am currently working on will be intriguing and innovative.
My goal is to step outside the conventional boundaries and create things that push the limits of creativity and innovation, offering something truly unique.
AW: You created the DOTs characters for the Inhabitants Universe. How did you become involved in this project?
O: This dates back to 2021 when Sean, the CEO of Pixel Vault, reached out to me to create an artwork for the launch of the Punks Comic #2. As we talked more, we discovered that we shared many of the same ambitions, leading to what was initially called the MetaHero project and is now known as Inhabitants. This marked the beginning of my collaboration with Pixel Vault. Now, I am involved in every PFP launch, overseeing the creative aspects to ensure it is a product we are proud of and one the community will love.
As for DOTs, they were originally named Sidekicks. I wanted to introduce an evolution concept, drawing inspiration from games like Pokémon, which held a special place in my heart due to the nostalgia they evoke. I aimed to create something unique, and working on DOTs allowed me to push creative boundaries. Being the first to create an evolving PFP felt great! The project involved psychological, business, and creative elements, making it one of the more intriguing experiences I have had in space, both from an interactive and technological standpoint. It is an experience I believe people will enjoy if they dive into it.
DOT # 5011 | Odious | 2023
AW: You have mentioned that art is good for the brain. Can you elaborate on how you personally experience cognitive benefits when creating or engaging with art?
O: I have noticed that there are two distinct feelings when I create art. One is when I create because I have something inside that needs to be released, and the other is when I have not created for a while and feel that need building up. The contrast between these two states is quite profound.
When I create art as a way of releasing what is within me, it is like opening floodgates. I take what is inside, my emotions, thoughts, and ideas, and I pour them onto the canvas. It is like a cathartic process, where I can externalize what has been bottled up.
This release is incredibly therapeutic for me, and I can physically feel the difference it makes in my mental and emotional well-being.
Creating art is not just about expressing emotions; it is also about exploring new pathways in your mind. It is akin to opening doors to uncharted territories of creativity. As I work on a piece, I often stumble upon hidden pockets of inspiration and imagination that I would not have encountered otherwise. It is like a journey of self-discovery through art, where I uncover aspects of my creativity that might remain otherwise dormant.
In essence, creating art is a way to expand my thoughts and emotions, preventing them from stagnating or being bottled up. It is a healthy outlet that allows me to explore, express, and ultimately grow as an artist and as an individual.
AW: How do you handle moments of doubt or uncertainty in your creative journey and what keeps you motivated despite these challenges?
O: My approach to handling moments of doubt or uncertainty is all about embracing a "just do it" mentality. I have come to realize that worrying excessively about something before taking action is like worrying twice. It is redundant and counterproductive. I have learned to adopt the perspective that you are going to do it eventually, so why psych yourself out beforehand? It is a mindset that encourages me to take risks and dive into creative endeavors even when doubt looms. I go into new challenges with the understanding that I might make mistakes or encounter setbacks along the way, and that is perfectly okay. In fact, I have learned that making mistakes is a natural part of the learning process. It is not about worrying over what others might think if something does not go perfectly; it is about focusing on my own growth and experiences.
By pushing through doubt and not allowing it to paralyze me, I avoid getting stuck in a place where I might later regret not taking action. So, when opportunities arise, like giving this interview, I have shifted my mindset to an action-oriented approach. Instead of hesitating or finding excuses, I embrace the chance to learn, grow, and enjoy the journey, no matter where it leads.
the roadmap that matters | Odious | 2023
AW: Many people might not be comfortable with taking such risks and stepping outside their comfort zone. It appears that you have grown comfortable with being uncomfortable. How did you develop this mindset, and what advice would you give to others looking to do the same?
O: I have come a long way, and I want others to see that it is possible to transform and regain your confidence, even when you have hit rock bottom. I consider myself living proof of this. In many ways, I feel like I have become a beacon of light for people who may be struggling, showing them that there is hope and a way forward. Just two years ago, I could not have imagined answering the door, let alone doing an interview like this. My advice to those looking to develop the same mindset is to take one step at a time and focus on progress, not perfection.
The quote in my bio is the title of the piece in my X banner which was part of an auction featuring 48 unique pianos, each with its own meaning and message. Initially, I did not bid on this particular piano, thinking it would be highly sought after. Instead, I bid on another one but lost that bid. It ultimately came down to making bids for this piano and another one. I noticed that not many people were bidding on this specific piano, so I decided to make an offer, and after a bit of back-and-forth, I won it.
This piece resonates with me profoundly because it seems to convey a myriad of thoughts and emotions, it is a perfect expression of my everyday thoughts. I have never felt so attached to an artwork before; it is as if I am bound to it.
Alpha Centauri Kid has this unique concept of the Muse, where the Muse guides his creative process, and he follows her lead. In this case, I feel like the Muse chose me, and I have become a part of Alpha Centauri Kid’s artistic universe through this piece.
There is something so beautiful about the way he creates. He has the ability to unearth hidden emotions and sentiments within people, often ones they were not aware of themselves until they encounter his art. This, I believe, is why he has such a devoted and passionate collector base. Everyone in this community is genuine, everyone loves his work and discovers something in his art that means something to them that they cannot let go of.
We are merely addicts to his creative process, and servants of the Muse.
There is no piano, there is nothing at all | Alpha Centauri Kid | 2023
AW: You have a fascination with pianos and classical music, where does this come from and what is your favourite piece?
O: I believe that my fascination with pianos and classical music comes from the incredible range of emotions they can convey. The sound of a piano can vary from soft and gentle to dramatic and powerful depending on the keys you play.
Piano music has always been a source of inspiration for me, and I listen to it while working. My earlier works always included a piano or sound bite, I incorporated this to help people understand how I was feeling. With a piano, you can press a key quickly for a sharp note or hold it down for a sustained sound. This difference matters and I do not think that other instruments can offer this range.
Incorporating pianos into my work helps me connect with my audience on a deeper emotional level. It's like a soothing escape to a world where I can freely express myself and let creativity flow without constraints.
My favourite piano song is “Time” by Hans Zimmer. This song features at the end of the movie Inception.
Keys to the wrong house | Odious | 2021
AW: You sold your first piece for 2 Eth and immediately purchased art with your earnings. What drove this decision and what art did you collect?
O: When I sold that first piece, it was an incredible moment for me. It felt like a confirmation that people not only appreciated my work but were willing to invest in it. I wanted to share this excitement with my peers as soon as possible. I instantly acquired a piece titled Boxing Match. My intention was to support this artist and convey that, especially during a time when web3 was still met with uncertainty, I wanted to encourage them to keep creating.
AW: You have mentioned that you believe in the idea of supporting people, especially people who hold promise and who have not received significant recognition yet. Why is this important to you?
O: I think it stems from a deep-rooted inclination to be a good listener and the desire to help others, almost like a therapist. Whether it is with friends or family, I have always been the one to offer support and reassure them that we can navigate through challenges they are facing together. This innate longing to ensure the well-being of others extends to me wanting to support emerging artists and reassure them that persistence and hard work will ultimately pay off. I am able to identify the potential in people. Over the years, I have had the privilege of working with several artists, providing guidance and sharing insights. I am pleased to see they are doing well now.
Karisma is one of these examples. He and I are like brothers, we are always thinking on the same wavelength. We first chatted when he had few followers while I had followers in the thousands. I had nothing tangible to gain by supporting him, but I saw tremendous potential in him. I believed in his ability to succeed if he made a few adjustments. Now, he is making significant strides in the art world. Continuing to support him brings me immense joy!
Overflowing with Pain | Karisma | 2022
AW: You have been successful at collecting early works from prominent creators like Beeple and FEWOCiOUS. What is involved in identifying and acquiring these types of works?
O: Acquiring early works from renowned artists involves a meticulous process. In the case of Beeple's piece, it was an opportunity that felt like a no-brainer to me. Recognizing his unique approach and the astonishing fact that he was selling an artwork for just $1, I was prepared for his drop on Nifty Gateway, a platform I was well-acquainted with.
I noticed they introduced an Eth function in addition to the credit card payment option, which presented an opportunity. To maximize my chances, I took swift action. I opened two tabs, defaulting to the credit card payment method, knowing I had no time for the chain to accept my txn with such demand, and hoping to secure two transactions. Astonishingly, both transactions went through simultaneously, and I successfully acquired two pieces. It is still a mystery to me how this was possible, considering the rapid sellout time of just one second.
AW: What trajectory do you anticipate your collection taking over time?
O: I have collected pieces from a range of different artists, aiming to offer support and recognition to those individuals whom I am not only betting on, but also believe deserve that endorsement. One artist I have collected from extensively is Karisma. My involvement goes beyond acquiring art; I have also shared advice and provided coaching on web3, investing in his potential. These pieces will likely never leave my vault due to the beauty of his creations.
I have also collected a number of pieces on Nifty Gateway after my collaborative drop with FEWOCiOUS, Jonathan Wolfe, and Parrottism. I reinvested 50-70% of what I earned into other artists on the platform. This was a way to extend the sense of fulfillment I felt after the drop and sharing it with other artists. There is no greater validation for an artist than someone purchasing your work.
AW: When you acquire artworks, do you have a distinct intention behind each acquisition? Is it driven by personal appreciation, like with Karisma's pieces, or do other factors, such as financial potential, influence your decisions?
O: I constantly juggle my trader and artistic mindset. Certain pieces like Karisma's, I probably will never sell. However, I evaluate other pieces from a financial standpoint. Maybe the piece does not resonate with my personal aesthetic or emotional side, because not every artwork will. Nonetheless, I am aware that someone out there will connect with it. If I seize the opportunity to acquire it before them and later sell it to that interested party, it benefits the artist, myself, and the buyer. This symbiotic relationship makes every purchase meaningful to me.
AW: You recently said that you miss interacting, sharing art, and engaging in meaningful conversations. Will this longing influence any changes in your approach to your audience and collectors? How do you plan to strike a balance between focusing on your work and maintaining those interactions that are important?
O: The initial step I took was creating an alternate X account, a space where I do not feel pressured to post regularly; rather, I use it to jot down my daily thoughts and post light-hearted humor where I poke fun at the web3 space. This serves a different side of me, one where I enjoy sharing playful content. This account allows me to express myself more freely. Conversely, my main X account is strictly dedicated to my art. I want this account to be a clean space for those who appreciate my art and follow me as an artist.
My recent post on X about missing interactions and sharing stemmed from my work on Odiville. I felt that if I shared anything aside from Odiville updates, there might be backlash. In some cases, that is reasonable. People have invested time and money and deserve to see progress. When things do not go as planned, it can eat away at your thoughts, playing games with your mind. I do not judge anyone for this reaction; it is understandable.
Personally, I would like to reach a point where I can share art that is not exclusively about Odiville—for example works in progress and unrelated pieces. So, the question is: should I work silently in the background until something substantial happens, or should I continue with the approach that brought me here? I believe that if I withhold art and refrain from engaging in discussions, I lose momentum and risk the account going silent. I want people to know that I am present and that I have not left.
unexpected merge | Odious | 2023
Odious (@todayodious) is an innovative artist whose work has consistently shattered creative confines. His art transcends mere aesthetics, delving deep into the realms of emotional catharsis and self-expression. With a career marked by bold experimentation and profound personal growth, Odious has transformed from a place of adversity to become the confident individual he is today. His art beautifully captures this transformation, portraying a striking contrast between playful creativity and the exploration of deep, at times, dark emotions.
Alexia Wright (@PepaDot) is the Head of Social Media and Marketing at Tribul, combining her passion for art with her expertise in content creation, community management, and stakeholder relations. Alexia holds a Master of Arts degree and has extensive leadership experience. She enjoys keeping her pulse on the latest art news and trends in web3.