Cansu Peker is a passionate advocate for digital art, using her platform, Digital Arts Blog, to bridge the gap between artists and audiences while redefining how digital creativity is perceived. As a curator, she has explored the intersections of technology and artistic expression, most notably through We’ve Been Dreaming About a Magical Jungle, an online exhibition that ran from November 1, 2023, to its extended date of March 31, 2024. This exhibition brought together digital artists whose work evokes dreamlike, immersive landscapes, pushing the boundaries of what digital storytelling can achieve. In this interview, Peker discusses her journey into digital art, the misconceptions surrounding the field, and her ongoing efforts to spotlight innovative creators in the evolving digital landscape.
A lot of people actually aren’t that familiar with it. And if they are, they think of just NFTs because they might be more familiar with that for some reason. How did you get interested in digital art?
Yes. So my introduction to digital art was when I was studying. I did my master’s in cinema studies at NYU. During those studies, I would take classes on film noir or World War II German cinema. They were fun and cool to learn about, but I discovered I was way more interested in the future of storytelling. I was lucky enough to take a couple of courses on digital storytelling and interactive media. Those were like, “Okay, this is really interesting.” It wasn’t about going back and talking about things that happened before; it was more about engaging with what’s going to happen next. What does it mean if it’s interactive and the audience is included? These cool concepts about digital media were so interesting to me.
After I graduated, I started working with a curator who specialized in digital art. This was back in 2021, 2022, during the NFT boom era. We were mostly working in tandem with NFTs, but through that work, I realized something admirable about digital artists—they find cool new technology and use it in creative and innovative ways. It’s like in the 1990s, when the internet was first introduced to the public, and some people said, “You know what? I’m going to make art with it.” I wanted to highlight this innovative thinking. As a curator, I could put on exhibitions and shows to spotlight these incredible works, but I also realized that every artist I spoke to wanted an opportunity to put their work in front of more people. Since we live in a digital age with the internet, I thought, “I can do that.” That’s kind of how the blog started.
So, just for yourself—this might be an easy or hard question—how would you define digital art?
I define digital art as creative works created with the use of digital technology. That can include the internet, phones, software, and even electric conduction. I’m not sure if electric conduction is strictly considered digital, but it’s part of it.
Does it have to be completely digital? At this point in the world, people use computers for almost everything, even those who don’t think they’re making digital art. Is there a threshold, or is it really broad?
Good question. I personally define it as production involving mostly digital tools. For example, sculptors might create digital renderings before working on the physical product, but I wouldn’t consider the physical product digital art. If they’re showcasing their digital renderings, that’s art for me.
There’s also a continuum starting from the 1950s and 1960s with video art. Do you categorize video art as part of digital art?
That’s something I’ve been thinking about lately. When it comes to video art and showcasing it on the digital arts blog, I like highlighting works that involve glitch aesthetics or creative editing. I wouldn’t consider home videos montage-ed together as digital art. To me, for it to be digital art, it needs to involve significant digital alterations or modifications. It’s like digital photography—taking a photo and doing basic edits isn’t necessarily digital art. For it to be art, it should convey an emotion, an idea, or a deeper meaning beyond just recording something.
What do you think are some common misconceptions about digital art?
One big misconception is that people think digital art is the same as NFTs, and all NFTs are digital art. I think the media contributes to this misunderstanding because it highlights when someone makes millions of dollars, so that’s what people know about. Older generations especially might think digital art is just NFTs. For them, digital art seems intangible—they might say, “I can buy a painting and hang it on my wall, but I can’t do that with digital art unless it’s an NFT.” Education and more discussion can address this, but even museums often incorporate digital art as NFTs due to the economic aspect. It’s the reality of a capitalist world.
Do you find yourself explaining this a lot to older generations? How does it usually go?
Yes, especially with my friends’ parents. At a wedding recently, I told someone I was a digital art curator, and he said, “What does that even mean? Is it NFTs?” He didn’t understand the idea of owning a digital file, like, “Why pay for something I can save on my desktop?” I explained that it’s about authentication. Just like you can print out a Picasso, it doesn’t mean you own an original.
What type of digital art are you partial to?
I have a soft spot for augmented reality (AR) art. The artist creates work in a digital space, and it’s superimposed into the physical world using apps like Snapchat or Instagram. I love when AR art interacts with physical spaces, like location-based works. For example, in NYC, there was an AR piece where a monster appeared climbing the Flatiron Building when viewed through a camera. It’s such a cool way to create meaningful experiences.
Can you share some of your favorite artists?
Some of my favorite artists include Ida Kvetny and Rory Scott, among others.
Ida Kvetny is a Denmark-based artist whose augmented reality art I truly admire. Her digital characters are so rich in texture and form, often found dancing through museum alleys or public parks. They radiate so much energy and personality.
Rory Scott is an American XR artist who creates augmented reality dresses that users can try on via filters on Instagram, Snapchat, and TikTok. Her creations are always fun and creative, often defying physical laws in the most delightful ways.
For more artists, definitely check out We’ve been dreaming about a magical jungle which is a virtual exhibition I curated as the official pavilion of The Wrong Biennale. It showcases eleven digital artwork by artists from all over the world and from various backgrounds. The collection reveals the shared feeling of empowerment, self-discovery, and the search for intimacy in nature.
What made you start your blog?
While working as a digital art curator, I saw the excitement and gratitude from artists when they were given opportunities. I realized I could spotlight artists and their works more broadly through a blog. It’s fulfilling to make people happy and spread awareness about digital art.
How do you curate your blog content? Do you prioritize certain topics?
My blog has three sections: artist spotlights, exhibitions/events, and tips/tools. Artist spotlights often come from artists reaching out to me. Exhibitions and events are usually submitted by galleries and museums. For tips and tools, I use analytics to see what people search for, like how to price digital art or which canvas size to use. I also get inspiration from design blogs and art publications. We also have a Community Blog, which also came to life in a similar way as the spotlights when a couple artists inquired about publishing their essays on DAB.
What’s been the most rewarding part of running your blog?
I have a folder called “Journey” where I save every sweet message, thank-you, and feedback I receive. Knowing that I created something valuable that no one asked for is incredibly rewarding.
How do you see your blog evolving in the next 5–10 years?
Right now, it’s focused on spotlighting artists and spreading the word about digital art. In the future, I’d love to create an archive to preserve digital art. With technology constantly changing, it’s important to update and protect digital works for future generations.
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