If you’ve ever attended events on technology or cryptocurrencies, you know what kind of audience to expect — a crowd overwhelmingly male, with only a small fraction of women. But in the world of art and technology, the landscape is quite different. The NFT scene, for instance, has become a springboard for many talented women who have distinguished themselves as artists and curators.
One of the most prominent examples in Italy is Serena Tabacchi, with whom I had the privilege of conducting an in-depth interview.
Entering Digital and Traditional Art
Serena, you started in digital art and are now expanding into traditional art. What are the main differences you notice between the two worlds?
Digital art differs from traditional art in several obvious ways. Firstly, there is a certain skepticism toward a medium often not considered “artistic,” relegated to everyday use. This skepticism comes from the proximity of digital tools — phones, computers, TVs — to daily life. These devices are so integrated into our routines that it is hard to assign them artistic value. Many people still seek a tangible, sensory connection with art — the tactile feel and texture of a painting or sculpture.
The challenge lies in creating a similar sensory engagement with digital art, which, while familiar in daily life, often appears two-dimensional in the physical world, despite being infinitely three-dimensional in virtual space. Lack of exposure and education in digital aesthetics represents a key difference. Cultivating appreciation and value for digital art requires new sensitivity — a capacity to perceive beauty in a digital medium.
NFTs and Opportunities for Women
NFTs were born under the principles of decentralization and anonymity. Do you think this environment helps women artists, or did traditional art have similar barriers?
Digital platforms offer broad accessibility and easy learning through online resources. However, educational barriers persist, as many students follow traditional paths, and the internet — a vast source of knowledge — remains underutilized. Social media, while prevalent, often limits critical exploration. In this context, talented female artists like Anna Maria Caballero and Sasha Stiles are revitalizing historical references in innovative forms. Women, historically drivers of cultural trends, now also emerge in crypto art, exploring new tools such as Bitcoin Ordinals, highlighting the ongoing evolution of artistic and technological expression.
Personal Journey into Digital Art
For those less familiar with you, what led you to digital art at the highest professional level?
My entry into digital art was a mix of coincidence and curiosity, sparked during my time in London through casual connections. I became involved with people developing blockchain systems and Smart Contracts, offering artists innovative ways to create digital works. My background in publishing and work at the Tate exposed me to artist relations and contracts, which naturally extended into blockchain applications, providing a protective framework for digital artists.
From there, my curiosity grew. I began to understand the various creative approaches: generative art using JavaScript and AI with machine learning datasets, and direct creation through digital drawing or 3D modeling. The immense possibilities captivated me. New software and techniques emerge constantly, spreading rapidly through social media, creating a space where artistic expression is free and fast-paced.
What took decades in traditional art — establishing movements and influencing future generations — can now happen in months or even weeks, thanks to the scalability of social platforms. Following these trends requires a keen eye to identify the most exciting artists, both technically and conceptually. This world has become both my passion and profession.
Advice for NFT Artists
What are the three things to do, and three things to avoid, for an NFT artist today?
It’s a complex but essential question. First, staying informed about global developments and technological innovation is crucial. Building connections with other professionals and maintaining an online presence are important, even if social media isn’t everyone’s favorite. Understanding the communication systems for digital artworks goes beyond simply managing social accounts; it requires finding and participating in specific niches. Consistency and a recognizable style are vital, while experimentation is welcome.
Things to avoid: focus exclusively on marketing; neglecting hands-on creation and study of art history; overexposure or “selling out” to anyone, which can compromise career coherence. Traveling, visiting museums, and engaging with cultures enriches artistic development. Above all, maintain a balance between personal focus and connection to the wider world, staying humble, consistent, and dedicated.
Major Milestones in Italy’s NFT Scene
One of the most important moments in Italy for NFT adoption was the Palazzo Strozzi exhibition, Let’s Get Digital. Can you tell us about the show and its challenges?
The Palazzo Strozzi exhibition was a major milestone for digital art visibility in Italy, previously confined mostly online. The main challenge was the physical setup in the Cloister, particularly working with an experienced team less familiar with digital technologies. Curating a show with digital installations, monitors, LED walls, and video setups demanded skills acquired through hands-on experience. For me and the team, it was a masterclass in digital exhibition management, accelerating our knowledge of new technologies and benefiting both the museum and staff.
Evolution of NFT Art
The international NFT art world has matured past its initial naive phase, when many projects were elementary or linked to gaming and memes. Today, it is expanding into historically grounded fields such as photography, performance, and conceptual art. Some playfulness remains inherent in crypto art, particularly in collectibles, reflecting the medium’s gaming roots. Digital art is evolving, similar to how street art grew from subculture to recognized contemporary practice.
Does NFT collecting need to mature and distance itself from speculative practices?
Yes, speculation still exists but is much reduced. A public genuinely interested in digital art is emerging, focusing more on intrinsic artistic value than on quick profits. Like traditional art markets, real estate, or stocks, crypto art involves both speculation and genuine appreciation, with the advantage of instant trading increasing visibility and volatility.
Artistic Relationships and Curatorial Role
Are there particular artists you’ve been especially close to?
I maintain ongoing dialogue with several artists, exploring the evolution of contemporary digital art. In Italy: Mattia Cuttini, Fabiano Speziari, collector Token Angels, and Federico Solmi. Internationally, London and Asia are particularly dynamic, with new crypto art movements emerging in Korea, connecting artists worldwide.
According to Hans Ulrich Obrist, curators should proactively facilitate the creative process and foster connections. What is the curator’s role in contemporary NFT art today?
Today, the curator’s role is primarily educational — breaking down preconceptions about digital art. A curator must also act as a protective shield for artists, helping them exhibit and make their work accessible to audiences unfamiliar with digital mediums. Education represents about 80% of a curator’s role today; the remaining 20% supports artists and organizes exhibitions. Over time, this balance may shift closer to 50-50, but for now, awareness and understanding of digital art are paramount.
Women in Digital Art
This issue of Artbook is dedicated to women. Who have influenced your growth most, and why?
Many men supported my growth, but among women, Laura Andreini at Rifugio Digitale and Ursula Casamonti have been instrumental. Artistically, Marina Abramović and Cindy Sherman have inspired me, alongside galleries like Gazzelli ArtHouse, Ruth Catlow at Furtherfield, and Fanny Lakoubay, all Web3-focused. In Italy, Rebecca Pedrazzi stands out as an exceptional educator and AI art researcher. Others include Teresa Emanuele and Fanny Borel, influential in exhibition organization and institutional leadership. London offers a more developed female presence in the field, but Italy is catching up.
