Rikardo Druskic is an experimental, multidisciplinary artist who fearlessly blends mythology and technology, creating a unique fusion of the past and future. In this insightful interview, we take a look into his creative mind, where art, philosophy, and technology intersect. Druskic discusses his pursuit of uniqueness, the interplay between destiny and choice in his artistic journey, and the deeper social and existential themes that shape his work.

Through Xantea 2502, Rikardo tackles some of the most pressing issues of our time, such as the rise of artificial intelligence, while exploring the transformative role of art in navigating these complex topics. Join us as we explore these thought-provoking ideas and creative processes, and stay updated on his evolving portfolio.

✧ ✧ ✧

Describe your quest for uniqueness in your art. How do you distinguish your work from others?

In my journey as an artist, uniqueness has always been a very big part of my creative process. From as early as I can remember, the pursuit of a distinct artistic voice was a guiding principle. In my value system regarding art, uniqueness is paramount. This, I believe, is one of the greatest challenges any artist faces—to discover and cultivate a style that is undeniably their own. I’ve often felt I had a slight advantage in this pursuit, largely because I wasn’t formally educated in art. While no one is truly a blank slate, as we are all inevitably shaped by the cultural and collective unconscious to which we all belong, the notion of 100% original art is somewhat of an illusion.

 

Art, in many ways, is an extension of the collective consciousness, a shared reservoir of human experience and expression. Therefore, when an artist creates, no matter how original their work might appear, it is never entirely theirs alone. However, there are degrees of originality and uniqueness in art, and I believe that my lack of formal training and has given me an edge in this regard. I’ve hated authorities of any kind ever since I can remember.  Without the influence of a structured educational system or authoritative voices dictating how I should paint, I’ve been free to develop my own way of expressing myself. This freedom has been crucial in shaping my style.

 

Moreover, my contrarian character has played a significant role in this development. It has always driven me to explore, through painting, what others might overlook or shy away from, and I was never driven by the masses, including my academy colleagues.   I also possess a deep openness to new experiences, which fuels my desire to delve into a wide range of topics through my art—from psychology, mythology, and philosophy to physics and beyond. This openness allows me to continuously explore and push the boundaries of what I can express on the canvas. My uniqueness also comes from the complex narratives I explore through my paintings, especially now in my ongoing cycle, XANTEA 2502.

Delve into the concept of destiny vs. choice in finding one's passion in art. Do you believe that your passion for art was predestined, or was it a choice you consciously made? Can you share experiences that led you to this belief?

In examining the interplay between destiny and choice in discovering one's passion for art, my understanding has been profoundly shaped by my exploration of free will. Central to my perspective is the idea that free will, as traditionally understood, maybe more of an illusion than a reality. This view aligns with the ideas put forth by Baruch Spinoza, who argued that all human actions and events are determined by a complex web of cause-and-effect relationships. Spinoza’s philosophy suggests that what we perceive as freedom is actually a product of our ignorance of the myriad factors that influence our decisions and behaviours.

 

Further reinforcing this perspective, I have been deeply influenced by the work of Robert Sapolsky, a renowned neurobiologist and behavioural scientist. Sapolsky's research delves into the ways in which biological, neurological, and environmental factors shape human behaviour, challenging the conventional notion of free will. He argues that our thoughts, decisions, and actions are the results of underlying biological and environmental processes, rather than expressions of unbounded personal choice. Sapolsky’s insights have led me to conclude that our passions, including those for art, are not so much consciously chosen but are rather emergent properties of these deeper, predetermined influences.

 

In this framework, the discovery of one’s passion in art is not a result of a deliberate, free-willed decision but rather a reflection of these intricate subconscious forces. Inspiration, from this perspective, is not actively pursued but is an emergent phenomenon that finds us, guided by the intricate interplay of our subconscious motivations. Therefore, my journey in art, rather than being a matter of conscious choice, is seen as a natural outcome of these profound, underlying processes that shape our creative inclinations. I can say that my becoming an artist was predetermined, but not in a romantic sense of destiny. Rather, it is a result of the lack of free will and the influence of deeper subconscious processes.

Discuss how your art comments on or reflects contemporary social, political, or environmental themes. In what ways does your artwork reflect or comment on current social, political, or environmental issues? Can you give specific examples from your works?

Through my ongoing project Xantea 2502, I delve into two of the most pressing, in my opinion, social questions of our time: the profound impact of the technological revolution and the rise of artificial intelligence, alongside the deep meaning crisis that has become prevalent in the West. In this cycle, I explore the nature of consciousness through the lens of the first AGI robots, engaging with profound questions about what it means to be sentient in an age where artificial intelligence is becoming increasingly sophisticated. This exploration serves as a metaphorical mirror to our current technological revolution, urging us to awaken to the profound implications of our advancements and the shifting boundaries between humans and machines. It also brings to light the potential dangers of AGI, highlighting the ethical and existential risks associated with creating entities that may surpass human intelligence and autonomy, thus challenging our place and purpose in the world.

 

The second part of Xantea incorporates mythological narratives as a response to the meaning crisis we are experiencing in the West. Nietzsche's declaration of the death of God has left a vacuum that contemporary science has yet to fill, leading to a fragmentation of our collective understanding and purpose. In place of a unifying spiritual framework, various ideologies have risen, often dominating and manipulating the minds of younger generations. These ideologies attempt to occupy the sacred space once held by religious belief, reshaping societal values and norms in their wake.

 

Through Xantea, I aim to critique this ideological shift by presenting a tapestry of mythological and existential themes that highlight the search for meaning in a world increasingly devoid of a central, unifying belief system. The work serves as both a reflection on the disorientation caused by the collapse of traditional structures and a commentary on the new, often fragmented ideologies that attempt to fill the void. By juxtaposing ancient myths with futuristic elements, my art invites viewers to consider how contemporary social and political issues, including the potential perils of AGI, are intertwined with our quest for meaning and understanding in an ever-evolving technological landscape.

Debate the necessity of a political agenda in art. Do you think it's important for art to have a political agenda? Why or why not? How does this perspective influence your work?

Contemporary art often diverges into two main directions: one that emphasises social and political themes, and another that focuses on preserving and reinterpreting traditional art forms and techniques. The postmodernist approach, which frequently engages with these themes, tends to reject metaphysical narratives. This shift from prioritising aesthetics to focusing on concept and message often results in art that is criticised for its superficiality and lack of depth. I firmly oppose the postmodernist approach. I believe that art should not be driven by activism or politics. While these elements may be relevant in other contexts, they should not overshadow the fundamental purpose of art.

 

The focus on political and social issues often leads to a reduction in the depth and substance of artistic expression. The criticism by postmodernists that art not engaged with political or social issues is merely decorative is both superficial and misguided. Art’s true power lies in its ability to explore deeper, metaphysical dimensions that offer profound meaning and contribute to personal and societal transformation. Contemporary art should not be understood solely through the lens of political engagement or activism. Instead, it should also be seen as a tool that contributes to the transformation of the individual’s and society’s life and spiritual journey.

 

Art has the capacity to transcend immediate political concerns and engage with universal questions about the human experience, purpose, and existence. By embracing its broader potential, art can inspire, provoke thought, and enrich the human condition on a deeper level. It should act as a catalyst for introspection and self-discovery, transcending the narrow confines of political discourse to explore the timeless and essential aspects of the human journey.

Discuss the importance of messaging in your art and the audience’s understanding of it. How crucial is it for your audience to grasp the message behind your artwork? Do you create with a specific message in mind, and how do you gauge its reception?

When I reflect on my art, I must admit that I approach it with an old-school sensibility. I am someone who deeply respects artistic traditions and values the timeless principles of truth, goodness, and beauty. These principles are not just abstract ideals but foundational elements that guide my creative process and my life in general. To me, they represent both the end and the means by which we achieve a higher understanding and expression. If the Good, the True, and the Beautiful are the ultimate goals to which we strive, they are also, through their manifestation in love, reason, and creativity, the means by which we achieve these ends.

 

Love leads us to goodness, reason illuminates the path to truth, and creativity is the vehicle through which we express beauty.I firmly believe in the power of beauty and its profound capacity to communicate on a level that transcends words. Art exists in a realm where communication surpasses verbal expression, the realm of endless possibilities,  offering a dialogue that resonates deeply on an emotional and intellectual level. While some artistic works successfully combine both a clear message and aesthetic appeal, I prioritise the inherent beauty and emotional resonance of my creations.

 

For me, the message behind my artwork is important, but it is not always explicit or straightforward. I create with a specific vision in mind, often guided by a desire to explore and express deeper existential and metaphysical themes. The message is often interwoven with the aesthetic qualities of the work, aiming to evoke reflection, emotion, and connection on a profound level. Gauging the reception of this message involves observing how viewers engage with and respond to the emotional and intellectual dimensions of the art, rather than seeking a direct, verbal interpretation. Ultimately, the impact of my art is measured not just by how well the message is understood, but by how it inspires introspection, evokes emotion, and connects with viewers on a personal and universal level. The true power of art lies in its ability to transcend the limitations of words and touch the core of human experience, embodying the Good, the True, and the Beautiful through the paths of love, reason, and creativity.

Explore the trade-offs between ideologically driven art and art for social engagement. In your view, what are the benefits and drawbacks of creating art with a strong ideological basis versus art primarily aimed at social engagement? Can you share examples from your work where you've navigated these trade-offs?

When exploring the trade-offs between ideologically driven art and art focused on social engagement, I find myself strongly opposed to the former. Contemporary ideologies, especially those that dominate political discourse, leave me feeling disheartened. It pains me to see young people who have lost their belief in God, yet fervently cling to political ideologies that can never fill the void left by a higher spiritual belief. For me, God symbolises the highest value—a concept aligned with Spinoza’s idea of God as the embodiment of nature and truth.

 

As a truth seeker, I prioritise truth above all else. When I observe artists who continuously gravitate toward the same trendy topics, such as environmental issues, I can't help but feel a sense of discomfort. To be completely honest, I believe every artist should delve into subjects that genuinely resonate with their own inner truth, rather than following popular trends, particularly those rooted in political ideologies. However, I also recognise that art devoid of any message can lack substance. A meaningful message is what gives art its social engagement, which I consider important. I have never aligned myself with ideological projects, nor do I intend to. My art is driven by values that are fundamentally opposed to contemporary ideologies, yet I always strive to maintain an element of social engagement. The messages within my work have evolved alongside my personal growth. In my youth, my focus was on love—naive, perhaps, but pure and sincere.

 

As I matured, my exploration shifted toward the spiritual and psychedelic realms. Now, in my Xantea cycle, I address a wide range of topics, including AI, mythology, and the nature of consciousness. This evolution reflects my ongoing commitment to investigating deeper truths rather than succumbing to the shallow allure of ideological conformity.

Do you believe art can be perceived as pretentious? If so, under what circumstances?

Art can indeed be perceived as pretentious, particularly when it prioritises concept over genuine expression or when it relies on intellectual elitism rather than emotional resonance or aesthetic depth. This perception often arises in certain strands of conceptual art, where the idea or message behind the work takes precedence over its execution, leading to art that feels more like a cerebral exercise than a heartfelt creation. In some instances, conceptual art can be critiqued for its detachment from traditional forms of beauty and craftsmanship. The emphasis on abstract ideas can sometimes result in works that are inaccessible or alienating to a broader audience, requiring extensive explanation or insider knowledge to be fully appreciated.

 

When art demands that viewers buy into a complex or obscure theory just to engage with it, it risks becoming more of an intellectual game than a meaningful experience. While there’s value in challenging traditional boundaries and provoking thought, art that becomes overly fixated on the conceptual at the expense of the emotional or aesthetic can lose its impact. Art, at its core, is about communication—whether through beauty, emotion, or intellectual stimulation. When it becomes so esoteric that it speaks only to a select few, it risks losing its universal appeal and falling into the realm of pretentiousness.

Can art be objectively valued, and what role do you think academic institutions should play in art education?

The question of whether art can be objectively valued is deeply intertwined with broader philosophical inquiries into the nature of subjectivity and objectivity. After extensive research into the topic of subjective and objective morality, I've come to believe that true objectivity exists only within the realm of the natural sciences. Human conclusions, on the other hand, are inherently subjective, and shaped by personal experiences, cultural contexts, and individual perspectives. However, there are some universal intuitions that seem to transcend individual subjectivity—such as the inherent wrongness of poisoning a newborn baby. This shared moral intuition suggests that, while our values are deeply personal, they can also resonate with a broader human experience. With this in mind, I propose introducing the concept of "subjective objectivism" into public discourse.

 

This idea acknowledges that while our evaluations are subjective, they can still hold a certain degree of universal relevance. Applying this to the valuation of art, I believe that art can indeed be evaluated within a framework of subjective objectivism. In my value system, which is rooted in traditional principles, the originality of a work of art is of paramount importance. I also place significant value on the complexity of the work, the time invested in its creation, and the depth of the message it communicates. These criteria, while subjective, are informed by a long history of artistic tradition and can serve as a guide for evaluating art in a way that resonates beyond individual taste. As for the role of academic institutions in art education, the situation is complex. Ideally, academies could provide a strong foundation for young artists, offering them the tools and knowledge to develop their craft.

 

However, for this to be effective, these institutions must remain free from political ideologies that can stifle creativity and limit the exploration of diverse perspectives. Unfortunately, in today's environment, this is often not the case. Moreover, history has shown us that many of the greatest artists were anti-establishment figures who thrived outside the constraints of formal education. These individuals didn't rely on academies or structured learning to hone their craft; instead, they carved their own paths, driven by a deep sense of personal vision and a desire to challenge the status quo. While academic institutions can play a role in nurturing talent, they are not the only—or even the best—path to artistic greatness. Art, at its core, is about breaking boundaries and exploring the unknown, and sometimes the most profound creativity comes from those who operate outside traditional systems.

What would you say the central theme is in your current body of work? 

Xantea 2502 is a multi-dimensional art project that engages in philosophical, psychological, theological, and technological issues through fine art and experimentation. Xantea is a futuristic planet located in the year 2502 somewhere, far in space. The project begins with traditional painting and extends into the realms of virtual reality (Xantea VR) and other experimental technologies (Xantea Fusion), enabling an immersive, multi-sensory experience. The central figures of this narrative are AGI robots, the first synthetic entities that possess consciousness. Through talking about them, I explore the question of whether an artificial creature can really have a conscious experience. This research is not only technical or scientific but also philosophical, touching on questions of identity, consciousness and the nature of being. In addition to research on artificial consciousness, Xantea serves as a mirror of my own psyche.

 

The planet is inhabited by dark, bizarre beings that symbolise the darker aspects of my subconscious. Accepting Jung's philosophy, I strive to integrate these shadow elements into a "cohesive self". Ethics and morality are also central to the narrative of Xantea, explored through rich, multi-layered mythological stories. These stories serve as vehicles for examining real ethical dilemmas and moral questions. By placing these stories on Xantea, I create a space (epic spectacle) where ancient myths and futuristic scenarios intertwine, providing fertile ground for exploring eternal ethical questions in a new context. Free will and other philosophical concepts are woven into the very fabric of Xantea.

 

I play with these ideas, questioning the extent of autonomy and the nature of choice within all beings on Xantea. The multidimensional nature of Xantea allows for a complex, layered exploration of these themes. Xantea 2502 is an art project that combines multiple disciplines and modalities of expression. It aims to push the boundaries of traditional art and invites viewers into a rich experience that challenges their perceptions and prompts deep reflection on the fundamental questions of existence.