BACKPACK, CAMERA, UNIVERSE, METAVERSE: JUSTIN AVERSANO’S ODYSSEY ACROSS CULTURES AND SPIRITS
Project by Niccolò Lapo Latini
JUSTIN AVERSANO, Linz, 28th February 2025 // In Austria, at the Francisco Carolinum Museum of Modern Art, founded in 1855 by Adalbert Stifter for the enlightenment and education of the bourgeoisie of the Austro-Hungarian Empire // At the conclusion of his Intro-Spective exhibition, curated by Marlène Corbun de Kerobert, the consecration of his artistic journey and humanistic growth over the past decade is complete. Now, he stands in anticipation of his forthcoming project, Moments of the Unknown, as a new chapter unfolds, awaiting its own revelation.
Raffaele Morelli, the esteemed Italian psychiatrist and essayist ‘48 original— whose foresight and boundless generosity have, more than once, saved my life—once said: “If you are only one thing, if you get used to seeing and living the world from a single point of view, you fall ill.” Justin Aversano is a traveler, a philanthropist, a photographer, an explorer of cultures, and a scholar of the human soul—its intersections with the mind and the heart of those around us: our neighbors, our loved ones, our brothers and sisters we have yet to meet across the world we share. Five years ago, when I first delved into the realm of digital art, immersing myself in what was then the pioneering and unfamiliar world of the metaverse, it was Justin Aversano who, through his project Twin Flames, unlocked the iron gates of the blockchain for photography. In doing so, he ignited a new movement, offering alternative perspectives, unveiling unseen artistic dimensions, and expanding the boundaries of creative expression. Following Dr. Morelli’s philosophy, Justin Aversano did more than revolutionize art—he saved lives and healed minds, illuminating new ways of thinking.
Every Day is a Gift.
What initially inspired you to explore photography as a medium of artistic expression?
Photography was the first art form I got into at a young age when I received a Polaroid camera for my birthday as a child. I then started shooting skateboarding and studying light and shadows during middle and high school. Later, I went off to college to follow my passion for photography, studying it full-time alongside philosophy.
Twin Flames is one of your most well-known projects. What was your process in bringing the project to life? How did you select the twins featured in the series?
When I met twins, I would ask each set if they knew other twins. This created a chain reaction of connectivity.
Cognition.
You were one of the pioneers in bringing photography into the NFT space. What motivated you to take that leap? How do you see the relationship between photography and blockchain technology evolving in the future?
It was the most natural step for me when working online and thinking about the future. It’s the perfect marriage for truth and transparency. Blockchain validates the moment and ensures that the content you see is authentic reality, not AI-generated.
Photography, despite its historical significance, hasn’t reached the same level of recognition and financial success in the NFT space as 3D art, CGI, and other multimedia digital art forms. Do you believe there’s a missing factor preventing NFT photography from achieving the same audience engagement and revenue levels as other digital art mediums?
I believe it’s not about comparing—it’s about contributing.
Moving from physical photography—prints, exhibitions, and the traditional art world—to NFTs was a bold and unconventional step. What emotions did you experience when making that transition? Did you ever feel resistance from the traditional photography community when you embraced blockchain technology?
All forms are integrated into my practice. I weave the physical and digital as one. I haven’t perceived any resistance from the world of photography or my colleagues; on the contrary, they have welcomed me even more. This new path has allowed me to express myself and share my art in an even more authentic way.
Smoke and Mirrors_The Emperor.
Looking back, do you feel that NFT photography has enhanced or altered the essence of your work in any way?
It is still photography. What’s novel is how it’s being preserved and distributed.
Intro-Spective was a milestone exhibition, bringing together your most iconic photographic series in a physical space. What was it like to see all your works side by side, occupying the same environment?
This was a massive milestone for me. We brought together all of my main projects to date into the museum. All of them are NFTs, yet the entire show featured physical artworks—Polaroids, paintings, prints, and silkscreens. This is what I mean when I say I weave the physical and digital worlds together through my art.
Cognition.
The title Intro-Spective suggests deep self-reflection. How introspective do you consider your photography to be, and what message did you want to convey with this exhibition?
It’s a play on words. Most artists have retrospectives when they are older or midcareer. I am at the beginning, and all of my artwork has been minted on the blockchain since my origins. I see this archival system as a great way to start a career, providing proof of where the work is made and where it goes. This exhibition was a big deal for me, bringing a decade of art together—where all the stories bleed into one another across the unique mediums I choose to work in. I am excited to see what works and mediums I will be showcasing in the next ten years!
Having been a pioneer in NFT photography, do you have any new ideas or unconventional strategies for pushing the boundaries of photography in Web3 and the metaverse looking ahead? Do you think photography can evolve within the metaverse in a way that hasn’t been explored yet?
Yes, I am working on a brand new project that will do exactly that.