Recently, the Fingerprints DAO collection arrived in Brazil with the objective of being a reference in smart contracts for digital artworks based on NFTs music, illustrations, movies, graffiti and other formats. The collection, created in 2021 by the entrepreneur Luis Ramalho and the partner Renato Shirakashi, brings in its slogan the message “Collecting Beautiful Code”, something like collecting a beautiful code. The project aims to be the largest digital art collection hub in Latin America in a market that is already growing considerably, attracting more than 200,000 participants with sales of around US$ 3 billion in August 2021 alone.
Artworks, once registered in the FingerPrints system, become digital, allowing the creator to receive royalties whenever the NFT is sold and resold. Before the work goes up on the platform for consultation and sale, it is analyzed by a curation and acquisition committee that will evaluate the resources used in the work, the conceptual impulse and the aesthetics.
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“We believe that the smart contract of art is one of the most significant artistic developments of this century and we want to be a reference in this market that is still small”, says Ramalho, who currently has a collection on the platform valued at more than 200 million dollars, present in several countries and with a catalog with artists on all continents. According to data from the website NonFungible.com, which gathers industry information, the number of active NFT wallets rose 26% compared to the fourth quarter of 2021 and 159% compared to the first three months of 2020, reaching 142,863 at the end of March this year. year. It is worth remembering that a person can have more than one wallet of this type.
Forbes Brasil – The art market was one of the precursors of the NFT, even before the subject gained the mainstream, why did this happen and how is art reinventing itself with tokenization?
Luis Ramalho – In a way, when compared to other aspects of NFTs like games, the art market was the most “ready” to be tokenized. This movement started with programmers turned artists, but more and more we see traditional artists and galleries looking to enter the world of NFT. Our view is that NFT does not fundamentally change art, it is just a new medium, a new tool at the disposal of artists, as photography, video and digital were in the past.
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FB – Considering the goals of Fingerpints, what are the challenges at this moment, but also what do you see as opportunities, especially in Brazil?
Luís – Our main challenge is to bridge the gap between the traditional art world and Web3 and NFTs. By having a collection focused on works of art that use blockchain as a medium and not just a recording tool, we are better positioned to be that bridge between the two worlds. We have already been invited to curate an auction at Sotheby’s, and at Art Dubai. The challenge is to show the traditional world that there is interesting art being created in this new medium, and to give prejudices. We are privileged to have a part of the team in Brazil, and we want to use this position to make the country a world hub for this new market.
FB – From the artist’s point of view, is there an opening for tokenization, or is there still a need for a cultural process to increase adherence?
Luís – There is still a lot of misinformation. The attitude of many actors within NFT doesn’t help the market’s image either – it gives an impression of immaturity, of people looking for a quick profit. However, there are already several renowned artists who have entered this world: Tom Sachs, Damien Hirst, photographers such as the Brazilian Luiz Braga, among many others.