Jason Scuderi, the creative behind LASERGUN FACTORY, is a multidisciplinary artist, designer, and director based in Tokyo. As LASERGUN FACTORY, Jason explores the relationship between humanity and the digital world, using a unique techno-infused style to explore themes like artificial intelligence, social dynamics, and cultural shifts.

With a background as a Creative/Art Director, Jason has worked with some of the world's most recognized brands, including Reebok, Nike, Chanel, and the NBA. His work has been showcased in global glitch-art shows and the artist has shared his insights as a guest speaker at various exhibits.

We asked Jason about his art, creative process, and inspirations.

Can you tell us about your background as a digital artist? How did you get started in this field?

I began my career as a graphic designer in NYC, working at a small studio around 2000. Our main clients were Reebok and an indie music distributor. Due to the small size of the studio, I had to handle multiple responsibilities, quickly becoming an Art Director tasked with concept, layout, and production duties. Illustration was also a part of that.

Many years down the line, I began illustrating for Chanel. I started doing the work by hand but found it much more proficient to use Procreate on an iPad. Using digital brushes, it was easy to retain the hand-drawn look the luxury brand desired. In 2019, I learned about Cryptoart, and in 2020, I started minting work after being contacted by MakersPlace.

Since then, I've been focusing on various collections spanning hand-drawn, 3D, animation, and AI works.

What inspires your art? Are there any particular themes or subjects that you enjoy exploring through your artwork?

As a species, we continuously explore novel avenues for self-expression across a spectrum of mediums and techniques. While the essence of expression has resonated since our earliest human experiences — be it a smile, tear, kiss, or caress — technology has emerged as a pivotal tool, aiding in the documentation and, to some extent, replication of these profound moments.

Drawing inspiration from this symbiotic relationship, I employ a fusion of technology and artistry to delve into the intricate bond between humanity and the digital landscape.

Through a distinctive techno-infused style, I explore a myriad of themes encompassing artificial intelligence, social dynamics, spirituality, politics, psychology, and cultural shifts. My oeuvre spans contemporary artistic genres, from figurative to abstract, minimalist to pop, and surrealist aesthetics, each piece serving as a testament to the dynamic interplay between humanity and the ever-evolving technological realm.

*Digital Art: COMPLY by LASERGUN FACTORY*

What is an event which you consider a milestone in your digital art career?

In 2021, I was asked to join a group show in Yokohama called "Great Reset / Small Reboot" that took place at the BankArt gallery, curated by Mari Marimo Asada. After showing work in a host of group exhibits in Japan and globally, I had my first major solo exhibit in 2024 at Ether Gallery in Tokyo showcasing my CONSOLE COWBOY collection.

*Digital Art: FAMILY by LASERGUN FACTORY*

Can you tell us about some of your favorite pieces? What makes them special to you?

When I create work, I attempt to focus on the greater collection rather than a specific piece. Each piece in the collection however, should reflect the whole. CONSOLE COWBOY has so far been the most successful in terms of solidity. There were about 20-25 pieces, and the Director of the gallery, Jeremy Strength, and I worked diligently to cull it down to about half of that for the exhibit. It was a wonderful process to curate and find the best work to show.

I am currently focusing on a collection I began in 2022. The series is called PPL - a contemporary art collection that explores the idea of humans represented as primitive abstract figures and furthermore, the concept of digital existence as humanity integrates with new technologies such as artificial intelligence in electric space.

What materials, software, and tools do you typically use for your digital artwork? Are there any specific programs or techniques you specialize in?

For any given collection, the pipeline stack of tools will change, but overall, I use MidJourney, Luma, and Runway for AI concept and asset generation, Cinema 4D for model creation and animation, After Effects for animation and some texturing, and Photoshop for color, texture, etc. Lastly, I use Illustrator for vector-based graphics, InDesign for presentation, and Reason for any soundbites I might add to film.

Can you talk about any collaborations or partnerships you've had as a digital artist? How do you approach working with other artists or clients to bring a shared vision to life?

In 2023, I was asked to help curate and design FOMA (Fear of Missing Art) magazine's 10th anniversary issue. It was a wonderful collaboration with Sascha Bailey, a founding member. He allowed me to freely take on the theme, in which I honed in on the 1980s aesthetic based on "HEAVY METAL" magazine—an influential comic anthology style magazine from my childhood. For FOMA, I created the overall layout, masthead logo, and a full collection of faux ads that I dubbed AIDVERTISMENTS, as the base visuals were generated with AI and layer out in InDesign.

Are there any specific projects or goals you're currently working towards as a digital artist? What do you hope to achieve in the future?

One of my main goals in 2024 was to have a solo exhibit. The overarching idea behind CONSOLE COWBOY was to showcase new digital art in a traditional gallery. It was the first time I displayed work that was not minted. I simply wanted to show the collection to a broader audience. I believe this hybridization of new media and traditional space/ideology is something worth exploring. I'm hopeful to expand upon this idea with new exhibitions and events.

*Digital Art: RECYCLE by LASERGUN FACTORY*

What is a profound childhood memory?

In regard to art, one of my fondest memories is watching my cousin paint when she would babysit my sister and I. Seeing the images appear on a blank piece of paper was a huge inspiration when I was a child. I realized then and still believe that art is in some ways magical and an innate part of us.