Head of HAUS: Join us for a candid conversation with Bianca Beers, who we are hosting as an artist-in-residence. Available on all popular players, these interviews complement our exclusive NFT auction series.
Bianca Beers, who has over the years cultivated a powerful online presence and seems to enjoy steady, positive coverage from the Press, is genuinely interesting from an Aesthetic point of view. Her skill is never in question: upon looking at her work it is obvious that her skillful hand shows no hesitation.
Her love of Music, Urban Culture and Fashion is apparent and her naive and substantial visual signature can be easily recognized across her collections. Her work exudes a clean and youthful energy and it is easy to understand why she has been in the crosshairs of large brands and corporations.
Her work is a celebration of Presence. What do we mean?
By Presence we mean what is immediately apparent, that which appears to us without ambiguity, that which takes a stand in front of us and requires no explanation since it is somewhat familiar in its ipesity, immediately recognized and understood. Her focus on Presence is apparent in her Gods of Growth series, which she crafted for Binance’s 100 Creators Campaign. This focus on appearance and on the external is diametrically opposed to Conceptual Art’s focus on Pure Subjectivity and Inner Life, which takes the form of statements or explanations by artists who abhor letting the Aesthetic speak for itself. It is not clear if the public understands that her work constitutes a – perhaps unintentional – silent critique of the excesses of conceptualism, and an attempt to let the Aesthetic speak for itself.
Her focus on appearance, which is actually a risky strategy, never devolves into blandness or superficiality. Take a look at “Cellophane” for example (shown below):
Token ID: 18441 Metadata Score: 3/3 contract ID: 0x3B3ee1931Dc30C1957379FAc9aba94D1C48a5405 Energy usage Score: 0/2 Marketability Score: 2/2 Overall Score: B
The face of a young woman is brought to life by a masterful use of layers and vibrant colors, and it should be apparent upon inspection that what we stated about Presence applies here: there is no hidden meaning, no esoteric symbolism deeply hidden in the fabric of this piece, things that are traditionally “brought forth” by analysis, commentary or exegesis: all of the artist’s energy was spent depicting a young woman and bringing to life her characteristics and idiosyncrasies.
Bianca Beers challenges the notion that Art should be about profound ideas playing hide and seek and waiting to be found out behind a veil of colors ans structures. We are not saying that her work is superficial or lacks meaning, or that we are dealing with an empty-headed Savant blessed with an Adobe subscription: what we say is that she takes position by allowing the Aesthetic, the pure appearance of the individuals that she depicts, to speak for itself. Bianca Beers is a rare animal: she has enough self-restraint (all masters possess a great degree of self-restraint) to not speak on behalf of the Aesthetic, but to simply bring it to existence with mastery and let it be.
DesCartes, Kant and let’s not be afraid to say it, German Idealism, are so important in the history of Ideas because they are important markers in the advent of a new Paradigm: the Subject, the “sphere of absolute beginnings”, dethrones the Object as the prime focus of Intellectual Inquiry. Conceptual Art is a derived product of this epistemological cataclism – which is the reason why it is incapable of letting the Aesthetic speak for itself – the Subject, with a smirk, always need to have the last word. Bianca Beers is genuinely interesting because she turns that Paradigm on its head: her ego never gets in the way, and her objects speak for themselves with eloquence and grace.
Within the NFT sector, she is promised to a very bright future. The work she does on the outside of the NFT sector (she has done work for brands such as Nike and Microsoft) will certainly boost her profile among Crypto-Native and Crypto-Curious collectors. Queries on NFT analytics platforms did not return the results that we expected, but perhaps it has to do with the fact that not enough data has been collected so far on her NFT work. An objective, data-driven assessment of her work will have to wait and for the moment perhaps flowery Aesthetic discourse will be sufficient – we certainly hope so.
Bianca Beers social media presence:
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- Tik Tok: https://vm.tiktok.com/ZSJvMfhNQ/
- Behance: https://www.behance.net/biancabeers
- Facebook: http://www.facebook.com/Bianca.J.Beers
- LinkedIn: https://www.linkedin.com/pub/bianca-beers/ba/a28/388
- Pinterest: https://www.pinterest.com.au/biancabeers/
- Twitter: http://twitter.com/bybiancabeers
- Instagram: http://instagram.com/biancabeers
- Foundation: https://foundation.app/@biancabeers
- Rebel With a Cause Exhibition: https://biancabeers.com/rebel-with-a-cause
- CasetifyxBianca Beers: https://casetify.com/biancabeers
- Gods of Growth NFT Series: https://biancabeers.com/gods-of-growth
Bianca Beers in the Press:
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- Life Without Andy (2021)
- Froomesworld (2021)
- Rag Trader (2021)
- Stockhead (2021)
- Pedestrian TV (2021)
- Ugg (2020)
- Buzzfeed (2020)
- Creative Mornings Sydney (2020)
- Astrophe Magazine Issue 3 (2020)
- Stature Media (2020)
- Life Without Andy (2019)
- Trippin’ World (2019)
- General Pants (2019)
- Fen Hong Se Magazine Issue 6 (2019)
- Platypus Shoes (2018)
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