We were lucky to catch up with Ellex Swavoni recently and have shared our conversation below.

Ellex, appreciate you joining us today. Do you wish you had started sooner?

I’ve been making work and studying the same things since I was a child. Sculpture and music were the two art forms that informed the way I approached everything. I was always interested in the way things were made, why they were made and the people who made them. I never denied myself the process of making. I always found a way to acquire tools or information that would at least get me closer to manifesting the objects I was imagining. I would use the internet and television to learn as much as I could about how things worked and correlated those ideas to structure my approach to making. However, I did deny myself the community that would come from sharing the things I was making and thinking about. If I could go back into time (though I don’t have any regrets) I would’ve been more urgent about sharing. I would started sharing my work and approaching the idea of being a full time artist with more bravery. I’ve always had access to and was in creative communities but I wasn’t always confident that I could make being an artist a sustainable lifestyle.

Ellex, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I was born in 1992 in Louisville, Kentucky, and my artistic journey began at the age of nine when I discovered art toys online. That serendipitous encounter sparked a lifelong passion for sculpture. With resourcefulness and the power of the internet, I taught myself how to sculpt and create toy-like figurative sculptures. I later pursued graphic design at Campbellsville University, earning a Bachelor of Science in 2014. During my studies, I developed an art practice focused on Afro-futurism, portraying women as powerful entities and reimagining ancient ideas through a futurist lens.

My work often incorporates computer programs, 3D printing, and fine finishes. I start by creating detailed sketches using digital tools, which I then transform into 3D-printed forms, meticulously programmed and finished with fine paint details. This blend of traditional and digital techniques allows me to craft intricate, futuristic pieces that challenge conventional narratives. I believe that with courage, curiosity, and a knowledge of both recent and ancient histories, we can transcend standard thought and develop new realities for ourselves.

Currently an obsession with sound, the people who create it, and the lives they lead fills me with relentless curiosity. Developing an art practice rooted in possibility has given me space to explore profound advancements in technology, philosophy, and culture. Yet, there has always been an enormous void—one that sound, in all its frequencies, has continuously filled.

I’ve always have sought to build worlds—exploring ideas of life emerging from voids and the power of feminine symbols. I was elated when the right words came into view: “A secret Black technology called the Blues”—a phrase from John Akomfrah’s documentary The Last Angel of History. In that moment, a light bulb went off. I realized my purpose: to decode the technology of music and create new ways to preserve and distribute its data, guiding us toward alternate realities.

We’d love to hear your thoughts on NFTs. (Note: this is for education/entertainment purposes only, readers should not construe this as advice)

I think NFTs and blockchain technology is imperative to creating new ethical frameworks for exchanging content on the internet. Ownership is difficult in such a vulnerable paradigm. Quantum computing will effect information security and though blockchain is still vulnerable to that I think it’s a good start to explore the ways we can value and protect digital artifacts.

How can we best help foster a strong, supportive environment for artists and creatives?

I’m not the biggest fan of art economics. I often find myself ruminating on the ethics of who has access to art, who determines its significance, and how funds are allocated by municipalities, institutions, and collectors.I fear that these strange assessments of value find their way into artist studios, influencing what we make and think. I don’t like that. I think capitalism has no place in the studio. I would love to see a framework were communities have artists like cities have sports teams. I’m imagining a crowd funded institution were professional artists can decentralize the equity of their success and has the stock goes up on that artist so does their equity.

Contact Info:

• Website: https://www.ellexswavoni.com/
• Instagram: https://www.instagram.com/ellex_swavoni/?hl=en

Image Credits

Sierra King 2020 and Rachel Waldrop