Raoul Pal reflects further: “in every true sense of the word.”

He and Blondie sit across from me in an art and sun-filled apartment on a New York City Summer Friday.

The in-person conversation is a welcome break from the always on digital art ecosystem, sometimes referred to as “the space”.

It is within that space that these two collided. First for the love of art, then its culture, and ultimately each other.

Raoul and Blondie first met in December of 2024. They (virtually) sat down for a “Collectors Perspective” conversation with hosts Ayla El-Moussa, Jessica Cardelucci, and LifeWithArt, and fellow guests Snowfro and Derek Edws. Quite a group.

First impressions are everything, right?

You may know Raoul Pal as the co-founder and CEO of financial platform Real Vision and architect of Global Macro Investor (GMI). When it comes to the crypto-savvy digital art sphere, his reputation precedes him.

“Everybody in the whole universe knows who this person is,” reflects Blondie. “Who is he? I have no idea.”

You may know Blondie as the founder and CEO of digital display solution White Walls. She doubled down on digital art as a collector and patron during arguably its toughest stretch.

“I figured she was a hoarder because she was talking about her sneaker collection,” says Raoul. Blondie confirms. “He actually called me a hoarder on the podcast.”

Their banter carried into direct messages. The two bonded over a shared conviction: art.

Raoul Pal’s conviction begins with culture.

A dinner in Paris was a formative event, set in the home of art collector and Ledger Chief Experience Officer Ian Rogers. “There were technologists, finance people, music people, art people, fashion people all sitting around the table with this commonality of interest. I know culture when I see it.”

Raoul brings up the Lindy Effect, a theory that concepts surviving selection pressures are more likely to persist long-term. This group of survivors witnessed full digital art and NFT boom and bust cycles. “The passion hadn’t gone. It increased.”

He recalls a second dinner, arranged by art collector Cozomo de’ Medici at Beeple Studios. There he observed artists, collectors, institutions, and auction houses alike. Another moment of synthesis.

“We’ve got a cultural movement. We’ve got cultural assets that people want. This is going to be much bigger than people imagine.”

Blondie’s conviction begins with community.

While she refers to the visual and technological aspects of digital art as beautiful, she is quick to move past them. “My whole world revolves around the people.”

She walks through a day in the life, waking up to “a variety of GMs” and exchanging banter with collectors Redbeard and Zanzibar and artist die with the most likes. It is the access that she wouldn’t trade for anything.

“I think we're very lucky. A lot of times with traditional art, you never met the artists or had a connection with them.” She pauses. “Or they were dead.”

Blondie has a reputation as the confidant to many. “I protect the Blondie brand, which sounds ridiculous even saying it. I protect it because it means everything to me, and those relationships mean everything to me.”

“Networked art is a very powerful thing.” Raoul builds on the idea of relationships, referring to a recent viral conversation with collector BatSoupYum.

“You don’t know who owns the other Marilyns of [Andy] Warhol. You have no connection with them whatsoever.”

The ‘Skulls of Luci’ collection by digitally native artist Sam Spratt illustrates a key distinction. “You know everybody who's got one. You meet them, you have this commonality of interest. You're now sharing ideas and social events. You become friends or you become enemies.”

Networks mean visibility. They also means distribution.

“Warhol had it and Damien Hirst had it because of television and music that spread. David Bowie's got a song about Warhol… It spread the memetic of the artist.”

Whether it is Spratt or XCOPY or Jack Butcher, artists are building foundations of support quicker than ever before, using the global and transparent nature of blockchain based art networks to their advantage. “We’ve put it in warp speed.”

Collecting and patronage remain passions for both. Their approaches have rubbed off on one another.

Raoul’s art collection, appropriately named The Culture Vault, was constructed with laser focus on XCOPY and Beeple. It has since broadened to tens of artists, including die with the most likes, nicedayJules, Pindar Van Arman, and more.

Blondie's Vault began broadly, collecting over a thousand artworks, including highlights like a Spratt Skull and 'Smoke Break' by Joe Pease. She has since become more patient.

Some things the two do together.

They collect and marvel at Kim Asendorf and 'PXL DEX'. They collaboratively entered MaNiC's world. They act as a powerful force and sounding board for artists, sharing a worldview of healthy experimentation within the context of a cohesive storytelling.

Some things they do not do together.

“Obviously I’m not allowed to buy anything with a rainbow for fear of death," says Raoul, referring to Blondie's brand-defining color spectrum.

There is the story of a controversial Alpha Centauri Kid 'circus elephant' artwork. "You stole that," rues Raoul. "You took a nap," says Blondie.

Blondie reminds Raoul of when he top ticked a Bored Ape. He grimaces. “I paid $400,000 for mine. It's now worth..." He trails off. Blondie leans in. “I think you should get that tattoo.” He grimaces again. “That sneer says everything.”

The digital art space is small at present.

Raoul and Blondie are not deterred. It is a function, a feature, of being early.

As their relationship blossoms, so too does their mutual desire to play an active role. “You don’t just want to be a cultural observer. You want to be a part of the culture.”

Their brand of participation is bringing people together, leveraging the networks that they have earned. "We're scattered all across the world. What is really nice is... seeing the spark in somebody's eye, seeing their smile, seeing their laugh, seeing their pain, seeing is what makes it uniquely human and then it really matters."

They have hosted informal events in New York City and Dubai. Next stop: Marfa, Texas.

It is a phrase that Raoul Pal is known for, one that he applies to cryptocurrency cycles and investment principles.

The three of us discuss living through the most revolutionary time in human history. “Art and culture are all we have.”

I ask what can be done to foster it.

“If we all just do something positive. Help the space, educate people, create content, do anything you can, support artists, do all of the things, and we'll just make this place - our place - better.”

The statement feels sincere, like he is willing it into existence, willing us all to do the necessary things.

“I met Blondie through this space, so this space is really important to me.”

Please enjoy the full, unfiltered two hours with Raoul and Blondie, far more than what can be contained within an article.

YouTube Link:
https://www.youtube.com/watch?v=Q-KiOfwsncg

This is a 24 Hours of Art Exclusive, written by founder Roger Dickerman (RD). 24 Hours exists to share the art, market, and stories of the digital art revolution.

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