As part of Phillips' New Now reception, artist Philip Colbert will host a live performance and unveiling of his latest digital art project, The LobstarBots, an NFT-generating machine based on Colbert's popular series, The Lobstars. Each NFT holder will have access to an interactive theatrical experiment in which the Robot will create (with the use of AI) a new artwork and also influence the artwork physically with the use of the robot itself. The NFT holder will receive the additional artwork that comes out of the Robot's mind. We caught up with Colbert to get a look under the antennae and learn how his arthropods are blurring the boundaries of physical and digital art.
Phillip Colbert
Philip Colbert's The Painter Portrait (Sky Blue) 2022, is featured in Phillips' New Now Sale 8 December.
PHILLIPS: Tell us a bit about the genesis and development of the project.
PHILIP COLBERT: I have been passionate about developing robotics and telepresence in my work for a few years. In 2020 In my show Lobsteropolis at Saatchi gallery I hosted the world’s first robot only Private view. I really wanted to develop a telepresence sculpture to create works with AI assistance. In developing these interests in Robotics/AI/performance The LobstarBots was born.
P: There are a few cheeky art-historical references at play here, particularly to the likes of Warhol and Duchamp – what does it mean to you for generative or experiential art to position itself in the way those artists did in the 20th century?
PC: I love humour and playing with art historical context, and these references are very inspirational for my work. Duchamp was a ground breaking artist, whose work helped to create new language for art. Technology presents a great opportunity to push the possibilities for art.
P: You’ve created an entire universe around the concept. How has it evolved since your early iterations during lockdown?
PC: I was very inspired by working with telepresence before, and wanted to develop the possibilities for artistic experience. The idea of a lobster robot that could be operated remotely with an AI brain, felt like it could push the possibility of sculpture and performance around the act of painting itself.
P:There’s an interactive angle to the Lobstar Robot – how does the idea of it having physical presence and a mind of its own create new dimensions for the work? You’ve mentioned the term theatrical, which is an interesting reference point.
PC: The fact that users actually become the lobster robot, on a telepresence level, their sense of identity and presence resets to becoming a lobster robot, is an amazing phenomenon. For me having the additional AI brain function felt important, as it allows the users to again be empowered by the creative possibilities of artificial intelligence and how that challenges art creation today. The experimental nature of this creation is important for me, as it’s the risk and the power of the unknown that creates performance.
P: What’s next for The Lobstars?
Hopefully more experimental robotics, and to continue to build out our city Lobsteropolis in Decentraland, and create more real world cross overs with that.
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