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Paloma,
Mar 27, 2024
1 min read

Curated Release: Killer Acid’s first collection of Bitcoin ordinals

Paloma,
Mar 27, 2024
1 min read

 

 

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Curated Release:
Killer Acid 

About the Artist:

Killer Acid represents the psychedelic work of artist Rob Corradetti, who has been actively producing art and creating products for over 25 years. Located in Santa Cruz, California, the brand concentrates on screen prints, T-shirts, and a myriad of mysterious, humorous, and highly-detailed psychedelic ephemera and has been producing since 2010.

Drawing inspiration from a rich blend of head shop culture and punk rock aesthetics, Killer Acid’s artwork reflects his vibrant and eventful coming-of-age in New York City. His cartoon psychedelia is infused with a distinctive tongue-in-cheek humor, enticing viewers with its randomness, brightness, and often bizarre imagery. Yet, beneath the surface, each artwork harbors personal meanings and traces of memories, inviting closer inspection and deeper reflection within his work. 

Killer Acid has collaborated with many companies and brands throughout the years, From iconic partnerships with Santa Cruz Skateboards and High Times to innovative ventures with Polaroid, Adult Swim, and beyond, Killer Acid's work has transcended boundaries, resonating from Chelsea art galleries to bustling malls across America.

ABOUT THE WORK:

Killer Acid’s first collection of Bitcoin Ordinals “No Brainers” goes live on April 11th. The collection consists of 40 hand drawn 1/1s. 38 of the pieces will be inscribed on uncommon sats, and 2 will be on pizza sats. 


➠ 0.099 BTC each 

➠ Blind Mint

 
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THE INTERVIEW:

In this editorial we delve into the mind of Rob Corradetti, otherwise known as Killer Acid, exploring his artistic journey, creative process, memorable collaborations, and inspiration  for his latest and first ordinals release with SuperRare x Gamma.io. 

Paloma: Can you tell us about your journey as an artist and how you developed your unique style over the past 25 years?

Killer Acid:

In high school I was always making drawings and paintings. I had a small brand called Craggy Sun, which consisted of me selling T-shirts out of the trunk of my car to friends and random people at the park. During my early twenties, I relocated to New York City and fully immersed myself in the underground comics and arts scene in BrooklynI wasn’t particularly trained or experienced at anything, but I was very committed and passionate about my art. In time, I gained some notoriety for my screen prints work and was given numerous opportunities to showcase within group art shows. In 2010, I established Killer Acid as both an alter ego and a brand.

Some of my favorite artists growing up were Jim Phillips, Gary Panter, Sean Starwars, David Wojnarowicz, and the artist collective The Hairy Who. In my free time, I would also frequent the Visionary Art Museum in Baltimore. It was here that I would begin to see myself outside of any structured art establishment, like a freelance bounty hunter. Subsequently, I began organizing small gatherings titled Zine Friends with Wizard Skull and delved deeper into promoting contemporary artists.

"The vibe was like, why wait around for someone else to validate you?" Just see the missing space, and fill it. - Killer Acid

 

 In the beginning, Killer Acid was meant to be a Brooklyn warehouse DIY punk show stoner mash-up,  a reflection of the things I was very into at the time. It started out as a bit of commentary on stoner culture and gradually became absorbed by the culture at large.

P: How do you infuse your psychedelic artwork with tongue-in-cheek humor, and what role does humor play in your work? 

KA: I find the construct of human society to be very silly, unpleasant, unforgiving, and needlessly burdensome. We're pitted against each other in a PvP arena, encouraged to lust for material possessions, fear one another, assert dominance, create false dualities, and strive to win at all costs. As a result, a significant aspect of my work serves as a natural allergic reaction to this world. I harbor a deep distrust of humankind and have always felt like I belong to a different planet, even from a very young age. The most effective way for me to confront these demons is to poke fun at them, offer loving criticism, inject humor and joy, all while acknowledging the irony that I too am ensnared within this system and likely contribute to the problem. 

P: Collaboration seems to be a significant aspect of your work. Can you talk about some of your favorite collaborations and what you enjoy about working with other brands or artists?

KA:  Collaborating with both brands like Santa Cruz Skateboards and Polaroid are at the top of my list.  With Polaroid specifically, it was an interesting process. I had the opportunity to work with Retrospect to up-cycle old cameras and turn them into new fun ones. I think collaborating always makes me come up with interesting solutions. Some of my best work I created in this environment, where I am a bit constrained, or focused. I love working with other people, when the magic is there.

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P: How do you feel about the accessibility and reach of your art?

KA: I come from a printmaking background, which is about getting art into the hands and minds of the people.

"I’m more of an Albrecht Dürer, or Andy Warhol type. A Killer Acid sticker on every laptop in the world is more interesting to me than one work at the MOMA. That may sound a bit cheeky, or counter intuitive for an artist. I’m a bit of an enfant terrible, I suppose." - Killer Acid

 

Cutting the velvet ropes. Art is for the people. So yeh, the question is how can I get the most art into the world while still creating special experiences? Products that are well made and conceptually cohesive are what come to the top of mind. Does this make sense as a clock, or a beach towel? Does it work as a print, or as an ordinal? Does it somehow get to the essence of what IT is? I think ultimately having a Killer Acid museum, or an adult rumpus room would be the ultimate expression. Not unlike Willy Wonka, I would want it to be the factory itself. 

P:  What excited you about this ordinals release the most? What do you hope it will provide for your collector base and for your work in the future?

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KA: Ever since I started working with Microsoft Paint, Corel Draw, and Photoshop my works have been mostly finished digitally, yet I have always preferred to draw on paper.  However,  The No Brainers collection is my first entirely digital collection. An important factor was this question around  minimizing the file sizes, which we ultimately did through Index Color and plotting pixels similar to creating a grid for textile weaving. Having the opportunity to inscribe work on chain appeals to me immensely, and goes along with the DIY aesthetic. It goes hand in hand with timeless digital longevity, and uncensored distribution.

P: Can you tell us a bit more about this specific series of work you created for the ordinals release?

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KA: This series titled No Brainers is about the human hybrid and  physical-digital state. I find comfort in the attachment to my devices, but  I also find that I feel nauseated and sometimes embarrassed. We are not yet fully integrated, living in a quasi-cyborg state that is both incredibly informative and educational, yet also claustrophobic, paranoia inducing, and both physically and mentally destructive. Layer this on top of crypto, the noble pursuit of decentralized financial freedom and digital expression, where the “good guy” builders are so often unmasked as scam artists. Here we see the absolute best and worst of humanity on an ever intertwining pursuit towards on-chain DNA. The duality of something being a sound investment, while also being the dumbest thing you could ever buy.


I’ll leave you with the poem that I inscribed on the No Brainers’ Parent Ordinal:

“We are hooked into the 24-7 digital casino. Silicon and bone, wires, blood, and nodes. Half human hybrids. Cyborg aliens. In the ultimate PVP arena. Holding to zero, like sand through skeletal fingers. My best plays happen without thought, only impulse. My best work happens in a rush of madness, a divine message from the subconscious hive-mind, broadcast deep into my ‘soul’. Awake! 

 

Scribble it down, traveler. The tamagotchi caveman grunts. He’s dying a slow death, but it's feeding time. I am my own dog, tethered on-chain, Yapping into the void, post physical, the ultimate isolation, FINALLY FREE! 

 

“Welcome to the future,” they say, “Gatorade and Ramen served”.

Cut the cord of mortality and float forever. Turn off your brain, relax, and ride the beam.” 

 

-  Killer Acid

 

Checkout Killer Acid and SuperRare's first Ordinals release here 

Available exclusively with SuperRare x Gamma.io