The online community has also proved useful for discussing one of the thornier issues around NFTs: how to retain curatorial and creative integrity in an arena which is predicated on commercial interests. Conversations around how to stage virtual exhibitions of NFTs, which Jones hopes could give photographers some control over the presentation of their work, are ongoing.
“On platforms like OpenSea, NFTs are automatically placed in the context of being a commodity rather than a work of art… We want to get people engaged with the ideas behind the work, rather than just convincing them that it is collectible, or something that is worth investing in. It is a very delicate balance, and one that we still have not fully resolved yet.”
But the fact that they are in uncharted territory also presents artists with a world of opportunities, Jones continues. “Photography does not really have a native platform. It could be manifested in print, in an exhibition or solely as a digital experience,” he says. “We haven’t yet started to see much [of the latter] yet, so there is a lot of room for new ideas which are inspired by this new environment.”
Meanwhile, NFTs have also provided a means of circumventing the traditional system of finding galleries to exhibit and sell works – a model which Jones and others have had “very little luck” with. “There are not enough galleries to support the amount of talented photo artists working today. Now, the growth of NFTs feels like an opportunity for them to be able to represent themselves.”
Could it be the art world’s next Instagram moment? “I think so,” says Jones. “We are right on the cusp of all of this going very mainstream. This time next year there are going to be a lot more photographers getting into the NFT space, who see its potential as a way to support themselves and build a sustainable career as an artist,” he adds. “It’s enormously exciting.”
Promise Land by Gregory Eddi Jones is published by SPBH editions. Access the NFT collection here.