April 19, 2022 • 18 mins
On this episode of Women Rule Web3, Kim Azzarelli speaks with Ola Volo. Born in Kazakhstan, and now living in Canada, Ola Volo originally made a name for herself as a muralist. Today she’s a star in the NFT world, and her distinctively patterned NFT is part of The Seneca Women Equality Collection in partnership with Nifty Gateway. Learn more at senecawomen.com or follow on social media @senecawomen
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Episode Transcript
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Speaker 1 (00:00):
Hi. This is Malayan Vervier and this is Kim Azarelli.
We are co authors of the book Fast Forward, How
Women Can Achieve Power and Purpose, And you're listening to
Seneca's conversations on power and Purpose. Hey, everyone, this is
(00:22):
Kim Azarelli and I am so excited to be hosting
this special edition Women Rule Web three. Now, the world
of Web three is moving so fast from the metaverse
to defy two n f T s. On this show,
we'll break it down for you through interviews with incredible leaders, experts,
and artists. Today we're talking to Ola Volo, a leading
(00:43):
female artist out of Canada. OLA's large scale murals and
significant illustration projects have resulted in a global audience and
fan base. Born and raised in Kazakhstan, OLA's distinctive style
is drawn from Eastern European folklore, multicultural and identity. Over
the past year, she's fallen in love with the n
f T art space. Ola is one of the six
(01:04):
amazing artists that we are featuring in the Seneca Women
A Quality Collection, a special n f T collection with
nifty Gateway. I spoke to Ola about her work. Here's
what she had to say. Well, Ola, thanks so much
for joining us. Thank you so much for having me
so we are absolutely delighted that you're part of the
Seneca Women a quality collection, this collection that we're doing
(01:25):
of six amazing women and ft artists. When did you
get involved in n f T S and why? Thank
you so much for having me part of the collection.
I'm absolutely delighted to be part of this incredible um
collective of woman and uh, you know, and f T
S have been part of my world since it's about
a year and a half now that I've been creating
(01:47):
work for n f T S. But um, I've been
curious about how to you know, part of my creative
process has been is digital. So this has been such
a beautiful transition to rate the work I want that
speaks from me and that I can share with a
completely new crowd of people. And the community is so
(02:07):
tight that I I yeah that once I met that
not transition, I would say, but as it included that
as part of my creative process and a new community,
and I feel like I expanded into like a more
world connection with a lot more artists. So it's been beautiful.
It's so true that the n f T community feel
(02:27):
so tight and I'll at the same time very global. Yeah,
so you feel so personally connected to people so quickly.
It's it's kind of an amazing thing, especially for someone
like myself who's been working around global women's issues for
so many years. I'm I'm super excited about this collection too.
Is global nature and will continue to add artists from
all over the world. That's amazing. I feel that also,
(02:48):
you know, voices and styles are being recognized from across
the world. But it's like there's space for it. Now,
there's space for us to um to show our work. Uh,
and it's it can be seen in seconds and on
a global stage. So yeah, this is I think this
is just the beginning of something that's going to be
(03:10):
become the new form of how we share our work
for the future. Well, your work incorporates patterns that are
almost like folklore illustrations. How does your personal background inform
your art uh in a huge way? Actually, Um, I
was born and raised in Kazakhstan, so UM I speak Russian,
but my mom is Polish. So, but in Kazakhstan it's
(03:34):
such a multicultural um hub. So my my dad uh
speaks Russian, my mom speaks Polish and Russian. So when
we moved to Canada when I was ten, it's really
become a way to like art became a way to
bridge my those worlds together. So you know, all this
Eastern European background merged with this being in Canada, So like,
(03:57):
how do I speak about my background yet in a
modern way, in a contemporary way. So for me, I
started to you know, relearn and understand Eastern European folklore
and how folklore is actually super universal, and how these
patterns are also universal, and how they you know, they
evoke the sense of um, some sense of um, something familiar,
(04:22):
something that feels like it belongs to your childhood. But
then it evokes emotion too, in me at least, So
when I create my work, I like to borrow from
those stories and those characters that I grew up with
as a as a as a kid in Kazakhstan, and
then I bring in the stories of and you know,
in my as a woman, I just for me, I
(04:44):
look at these how do I want to represent? What
kind of woman do I want to draw? And represent
the emotions and the stories I want to tell? And
each piece is different, but um, a lot of my
work is inspired by those, you know, by my back
around exactly, and and of course I I'm always trying
(05:05):
to sort of learn more about my past and include
into into my into my work, and in some way
I try to bypass language as a way to connect,
you know, with my family and my relatives back in
Eastern Europe and also across Canada, and sort of I
feel my work is very narrative and where I see
(05:28):
it that way at least, and that sort of by
you know, bypasses those language barriers that I faced a
lot when we came to Canada and I had to learn,
you know, learn English, and now I live in Montreal
where I'm learning French. So there's always been that language
barrier as part of my part of my life. I guess, yeah, Well,
I'm I'm really lucky because I'm looking at this incredible
(05:49):
piece of art that you did for the collection, and
it is so it is so packed with emotion, and
I think it does have so many layers of storytelling
going on, and it's just it's pretty unbelievable. You know,
you also are known for your murals. It's just incredibly
large murals. How have you found, first of I'd love
to hear how you got into murals. But then also,
(06:12):
you know, how are you finding you know, making n
f T s versus making murals. When I got into murals,
you know, it was been about ten years ago. Now
it's been a decade. But I I love street art.
I loved how you know, it always provoked conversations between people.
So for me, I when I saw um a Sashphard
ferry being to down the streets and I was like, man,
I really want to do that. I want to make
(06:33):
work that feels like it's larger than me, that it
feels like when I can leave it in a space
or in a country or in a city that I love,
and I can leave it and you could just live
on its own. So some of the murals that make
are like, you know, ten stories high or twelve stories high,
and you know you're up there creating work. That's so
it takes a long time, but it's you know that
(06:54):
it's it's a landmark. You know, it becomes your changeing
space and you're also taking up space, you know, And
that's something I was very shy about at the beginning
about you know, I didn't feel like my style was
really fitting with graffiti scene and and I was like,
I don't know what, I just really want to do it.
I wanted I felt like I needed to create on
(07:15):
the streets and that was my passion at that moment.
And I and when I started, I was like, no, wonder.
I was so drawn to it because it opened up
a whole new community for me that I felt like
was my tribe, you know, my my, my, my people
in some way, and they're all creatives who love to
be on the streets and and space and take up
walls and make sure their voices are heard and so
(07:37):
but you know, part of my creative process has always
been sketching and going to places where the murals are
going to be painted and understanding what the stories of
the other community and making sure that that story of
the community is seen in the artwork, because it is
they have to live with they artwork, you know, so
I wanted to make sure they connect to it. So
part of that process is doing a lot of revisions.
(07:58):
And I thought that always kind of relied on digital
art as a way of you know, being forgiving. And
if you know you can change the art, you can
shape it, you can refine and may get better and so,
but that part of my process was also a little
bit lost and not um not shared with anyone. You know,
I create a lot of digital work, but I would
(08:19):
never and don't really expose it anywhere, and I would
just jump into this portion of the murals. And when
I when you know what I started doing n F
T S, I realized that I was, you know, using
my concepts and refining them to such a degree that
I felt that they were they could live in the
digital space forever. I was so ready to you know,
(08:42):
I had to refine them over and over to make
sure that they're ready to be permanently in a different space.
That's that's worldly and that's permanent. And I I thought,
how how beautiful that that loop of the creative process
actually feels so organic to me because it's always been there.
It's just that I never, you know, my process kind
(09:04):
of ended on the on the murals up the streets,
and I would never come back to that digital piece again.
And then this sort of like, um, yeah, it just
kind of completed my completed that loop for me at
least for now and then and then to be able
to see all these creators doing such different variety of
(09:24):
styles and like today, you know, I don't have to
go somewhere to Germany just to see that piece. I
can actually you know, being you know, see that artist
be creative and today and not not you know, and
not from years ago. So I feel like it connected
us even closer. Yeah, it's so interesting what you're saying about,
like taking up space like the big you know, ten
(09:46):
story urals, and at the same time you're kind of
doing the same thing in the digital world because you're
able to, you know, have, like you said, that permanent,
lasting and instantly global recognition of your work. We'll be
back after this break for this collection, which I am
(10:10):
just I'm just so awe inspired by the by the
sixth of you artists that are part of the collection.
You know, we had asked for each artist to share
with us how they envision equality. So how did you
think about the piece for this collection. I've thought a
lot about the space because once we started talking, you
know this, it was exactly when the war broke out
(10:34):
in Ukraine, and it really affected me deeply because I
have a lot of family living in on the border
of Ukraine, in New Poland and Russia and it just
felt everybody was in such in such distraught and I
was right away. I felt like I needed to create
(10:54):
something that speaks about how much, you know, we we
need to be united, we need to feel like we
have each other's back, we need to especially the woman.
And you know, my family was so affected by it too.
So there's a lot of conversations that were happening right
at that moment of creation. And so as I said,
like a lot of the times when I create, I
(11:16):
want to create work that it feels so close to
me and feels so close to the community that I'm
part of. So I thought that really felt the need
to create something as a reflection of this, of this
moment in my life and moment in the world. And
so I created these two characters that you know, represent
about being taking care of each other, knowing that we
(11:38):
have each other's back. And woman, we all suffer the
same and so I want like we feel that pain.
And I wanted these women to feel that they that
they have each other, that they have each other forever,
and that I don't know, they're there, their closeness there.
You know, they're they're wearing traditional addresses and yeah, they're
(12:02):
their modern contemporary woman, and so there's these a lot
of symbology of you know, the sunflowers and the tattoos
that evoke power and and and that that they have
within themselves, you know, the birds, the flowers, and I
really wanted this piece to feel like, although it's very
sensitive and um, I don't know how to say it,
(12:26):
but delicate in some ways, in their eyes, there's a
lot of like, um, you know, I feel like with
with with people in general, you just need to feel
united and feel like you can get through anything. And
so that's I really didn't know how to create a
piece that evokes more some kind of positivity in such
(12:50):
a hard time, and I felt like this piece kind
of exactly fits right in that middle where it's sensitive
but it's empowering, and that's the emotion I wanted to
come across from this piece. I think you definitely accomplish that.
And the strength in their eyes too, I feel like
the strength in their eyes and the way they're connected physically,
(13:11):
I think it's just amazing. And the layers, I mean,
the detail and the layers is just really really beautiful.
Thank you. That took me forever. I can only imagine
I mean, the precision is just really exquisite. I mean
it's just really really beautiful. Thank you so much. Yeah,
I can't wait for the world to see. I feel
(13:33):
very lucky because I have a sneak peek. So I
guess my last question is, and maybe you've addressed some
of this, but still, you know, do you think Web
three and f t s have been good for women
will be good for women. I'm very bullish on what
Web three can do for women, but really curious what
you think. Me too, I think I think this is
(13:54):
a huge opportunity for us to take up space and differently.
And I, as I said earlier, like for for me,
when I got into a different community of straight art
and murals, I felt like I don't know if it
belonged in the space or I felt the same way.
And when I got into the n f T space
at the beginning that when I was a year and
(14:14):
a half ago, and it took a year and a
half or a year when I was like, oh, I
feel like there's a lot more women in here, and
I feel so much more excited about the future because
you could tell the voices are very like you feel
that their styles are welcomed and the kind of messaging
we put into our work is is you know, is celebrated.
(14:38):
And I'm like, this is I think this is a
beautiful opportunity to challenge the space, the art space. And
it's all we've always struggled to take up space and
museums and in galleries and and we do it, and
we do it well, but it's been, it's been, it's been,
you know, a challenge of its own. So think this
(15:00):
is another way for us to you know, jump jump
the you know, kind of like bypass the traditional way
of doing things and and create work and unite other
other artists and collaborate between women across the world in
the world very organic way. And I'm like this, I
think it actually has a huge opportunity for styles and
(15:21):
voices to be heard like immediately. We don't have to
wait until, you know, we get picked up by the
biggest museum or something. No. I think this is this
is the moment for us to be able to bypass
that and you know, create work that's seen in the
world like immediately. I love that. I mean, that's that's
what I'm feeling about this too. As someone who's working
(15:43):
trying to push for women's advancement in all different institutions
and places, and thank you for that. Thank you so
much for that trying, trying, trying, But now I see
that with technology there's the chance to not have to
ask for permission um and to just kind of taking
straight to the people. And and I think that's that's
(16:04):
a really exciting moment. But it's really important that the
narrative that's written around women and Web three is a
true one. And I think there are women in Web three,
and I think you know what you're doing, what the
other women artists are doing. I think this is like
a really important statement, particularly in this moment. As you
said earlier, So again, Ola, sincere, sincere, thanks for being
(16:27):
part of this collection, for what you're doing, and so
excited for the world to see it all such a
pushtion to toxicam and thank you. I can't wait to
share this. I think it's going to be a beautiful collection,
and I thank you for everything you do. I am
so honored to be, you know, to be part of this.
(16:48):
What an amazing conversation with Ola and her work is
so inspiring. Go to Seneca women dot com to see
her work and the other artists in the Seneca Women
A Quality Collection. Join us tomorrow for another Women Rule
Web three conversation. Have a great day. You're listening to
(17:08):
Seneca Women Conversations on power and purpose, brought to you
by the Seneca Women Podcast Network and I Heart Radio
with support from founding partner of P and G. If
you'd like to join the Seneca Women Network, go to
Seneca Women dot com. There you'll get access to exclusive
events and workshops, plus updates on new podcasts and other
(17:29):
opportunities to get involved.
Hi. This is Malayan Vervier and this is Kim Azarelli.
We are co authors of the book Fast Forward, How
Women Can Achieve Power and Purpose, And you're listening to
Seneca's conversations on power and Purpose. Hey, everyone, this is
(00:22):
Kim Azarelli and I am so excited to be hosting
this special edition Women Rule Web three. Now, the world
of Web three is moving so fast from the metaverse
to defy two n f T s. On this show,
we'll break it down for you through interviews with incredible leaders, experts,
and artists. Today we're talking to Ola Volo, a leading
(00:43):
female artist out of Canada. OLA's large scale murals and
significant illustration projects have resulted in a global audience and
fan base. Born and raised in Kazakhstan, OLA's distinctive style
is drawn from Eastern European folklore, multicultural and identity. Over
the past year, she's fallen in love with the n
f T art space. Ola is one of the six
(01:04):
amazing artists that we are featuring in the Seneca Women
A Quality Collection, a special n f T collection with
nifty Gateway. I spoke to Ola about her work. Here's
what she had to say. Well, Ola, thanks so much
for joining us. Thank you so much for having me
so we are absolutely delighted that you're part of the
Seneca Women a quality collection, this collection that we're doing
(01:25):
of six amazing women and ft artists. When did you
get involved in n f T S and why? Thank
you so much for having me part of the collection.
I'm absolutely delighted to be part of this incredible um
collective of woman and uh, you know, and f T
S have been part of my world since it's about
a year and a half now that I've been creating
(01:47):
work for n f T S. But um, I've been
curious about how to you know, part of my creative
process has been is digital. So this has been such
a beautiful transition to rate the work I want that
speaks from me and that I can share with a
completely new crowd of people. And the community is so
(02:07):
tight that I I yeah that once I met that
not transition, I would say, but as it included that
as part of my creative process and a new community,
and I feel like I expanded into like a more
world connection with a lot more artists. So it's been beautiful.
It's so true that the n f T community feel
(02:27):
so tight and I'll at the same time very global. Yeah,
so you feel so personally connected to people so quickly.
It's it's kind of an amazing thing, especially for someone
like myself who's been working around global women's issues for
so many years. I'm I'm super excited about this collection too.
Is global nature and will continue to add artists from
all over the world. That's amazing. I feel that also,
(02:48):
you know, voices and styles are being recognized from across
the world. But it's like there's space for it. Now,
there's space for us to um to show our work. Uh,
and it's it can be seen in seconds and on
a global stage. So yeah, this is I think this
is just the beginning of something that's going to be
(03:10):
become the new form of how we share our work
for the future. Well, your work incorporates patterns that are
almost like folklore illustrations. How does your personal background inform
your art uh in a huge way? Actually, Um, I
was born and raised in Kazakhstan, so UM I speak Russian,
but my mom is Polish. So, but in Kazakhstan it's
(03:34):
such a multicultural um hub. So my my dad uh
speaks Russian, my mom speaks Polish and Russian. So when
we moved to Canada when I was ten, it's really
become a way to like art became a way to
bridge my those worlds together. So you know, all this
Eastern European background merged with this being in Canada, So like,
(03:57):
how do I speak about my background yet in a
modern way, in a contemporary way. So for me, I
started to you know, relearn and understand Eastern European folklore
and how folklore is actually super universal, and how these
patterns are also universal, and how they you know, they
evoke the sense of um, some sense of um, something familiar,
(04:22):
something that feels like it belongs to your childhood. But
then it evokes emotion too, in me at least, So
when I create my work, I like to borrow from
those stories and those characters that I grew up with
as a as a as a kid in Kazakhstan, and
then I bring in the stories of and you know,
in my as a woman, I just for me, I
(04:44):
look at these how do I want to represent? What
kind of woman do I want to draw? And represent
the emotions and the stories I want to tell? And
each piece is different, but um, a lot of my
work is inspired by those, you know, by my back
around exactly, and and of course I I'm always trying
(05:05):
to sort of learn more about my past and include
into into my into my work, and in some way
I try to bypass language as a way to connect,
you know, with my family and my relatives back in
Eastern Europe and also across Canada, and sort of I
feel my work is very narrative and where I see
(05:28):
it that way at least, and that sort of by
you know, bypasses those language barriers that I faced a
lot when we came to Canada and I had to learn,
you know, learn English, and now I live in Montreal
where I'm learning French. So there's always been that language
barrier as part of my part of my life. I guess, yeah, Well,
I'm I'm really lucky because I'm looking at this incredible
(05:49):
piece of art that you did for the collection, and
it is so it is so packed with emotion, and
I think it does have so many layers of storytelling
going on, and it's just it's pretty unbelievable. You know,
you also are known for your murals. It's just incredibly
large murals. How have you found, first of I'd love
to hear how you got into murals. But then also,
(06:12):
you know, how are you finding you know, making n
f T s versus making murals. When I got into murals,
you know, it was been about ten years ago. Now
it's been a decade. But I I love street art.
I loved how you know, it always provoked conversations between people.
So for me, I when I saw um a Sashphard
ferry being to down the streets and I was like, man,
I really want to do that. I want to make
(06:33):
work that feels like it's larger than me, that it
feels like when I can leave it in a space
or in a country or in a city that I love,
and I can leave it and you could just live
on its own. So some of the murals that make
are like, you know, ten stories high or twelve stories high,
and you know you're up there creating work. That's so
it takes a long time, but it's you know that
(06:54):
it's it's a landmark. You know, it becomes your changeing
space and you're also taking up space, you know, And
that's something I was very shy about at the beginning
about you know, I didn't feel like my style was
really fitting with graffiti scene and and I was like,
I don't know what, I just really want to do it.
I wanted I felt like I needed to create on
(07:15):
the streets and that was my passion at that moment.
And I and when I started, I was like, no, wonder.
I was so drawn to it because it opened up
a whole new community for me that I felt like
was my tribe, you know, my my, my, my people
in some way, and they're all creatives who love to
be on the streets and and space and take up
walls and make sure their voices are heard and so
(07:37):
but you know, part of my creative process has always
been sketching and going to places where the murals are
going to be painted and understanding what the stories of
the other community and making sure that that story of
the community is seen in the artwork, because it is
they have to live with they artwork, you know, so
I wanted to make sure they connect to it. So
part of that process is doing a lot of revisions.
(07:58):
And I thought that always kind of relied on digital
art as a way of you know, being forgiving. And
if you know you can change the art, you can
shape it, you can refine and may get better and so,
but that part of my process was also a little
bit lost and not um not shared with anyone. You know,
I create a lot of digital work, but I would
(08:19):
never and don't really expose it anywhere, and I would
just jump into this portion of the murals. And when
I when you know what I started doing n F
T S, I realized that I was, you know, using
my concepts and refining them to such a degree that
I felt that they were they could live in the
digital space forever. I was so ready to you know,
(08:42):
I had to refine them over and over to make
sure that they're ready to be permanently in a different space.
That's that's worldly and that's permanent. And I I thought,
how how beautiful that that loop of the creative process
actually feels so organic to me because it's always been there.
It's just that I never, you know, my process kind
(09:04):
of ended on the on the murals up the streets,
and I would never come back to that digital piece again.
And then this sort of like, um, yeah, it just
kind of completed my completed that loop for me at
least for now and then and then to be able
to see all these creators doing such different variety of
(09:24):
styles and like today, you know, I don't have to
go somewhere to Germany just to see that piece. I
can actually you know, being you know, see that artist
be creative and today and not not you know, and
not from years ago. So I feel like it connected
us even closer. Yeah, it's so interesting what you're saying about,
like taking up space like the big you know, ten
(09:46):
story urals, and at the same time you're kind of
doing the same thing in the digital world because you're
able to, you know, have, like you said, that permanent,
lasting and instantly global recognition of your work. We'll be
back after this break for this collection, which I am
(10:10):
just I'm just so awe inspired by the by the
sixth of you artists that are part of the collection.
You know, we had asked for each artist to share
with us how they envision equality. So how did you
think about the piece for this collection. I've thought a
lot about the space because once we started talking, you
know this, it was exactly when the war broke out
(10:34):
in Ukraine, and it really affected me deeply because I
have a lot of family living in on the border
of Ukraine, in New Poland and Russia and it just
felt everybody was in such in such distraught and I
was right away. I felt like I needed to create
(10:54):
something that speaks about how much, you know, we we
need to be united, we need to feel like we
have each other's back, we need to especially the woman.
And you know, my family was so affected by it too.
So there's a lot of conversations that were happening right
at that moment of creation. And so as I said,
like a lot of the times when I create, I
(11:16):
want to create work that it feels so close to
me and feels so close to the community that I'm
part of. So I thought that really felt the need
to create something as a reflection of this, of this
moment in my life and moment in the world. And
so I created these two characters that you know, represent
about being taking care of each other, knowing that we
(11:38):
have each other's back. And woman, we all suffer the
same and so I want like we feel that pain.
And I wanted these women to feel that they that
they have each other, that they have each other forever,
and that I don't know, they're there, their closeness there.
You know, they're they're wearing traditional addresses and yeah, they're
(12:02):
their modern contemporary woman, and so there's these a lot
of symbology of you know, the sunflowers and the tattoos
that evoke power and and and that that they have
within themselves, you know, the birds, the flowers, and I
really wanted this piece to feel like, although it's very
sensitive and um, I don't know how to say it,
(12:26):
but delicate in some ways, in their eyes, there's a
lot of like, um, you know, I feel like with
with with people in general, you just need to feel
united and feel like you can get through anything. And
so that's I really didn't know how to create a
piece that evokes more some kind of positivity in such
(12:50):
a hard time, and I felt like this piece kind
of exactly fits right in that middle where it's sensitive
but it's empowering, and that's the emotion I wanted to
come across from this piece. I think you definitely accomplish that.
And the strength in their eyes too, I feel like
the strength in their eyes and the way they're connected physically,
(13:11):
I think it's just amazing. And the layers, I mean,
the detail and the layers is just really really beautiful.
Thank you. That took me forever. I can only imagine
I mean, the precision is just really exquisite. I mean
it's just really really beautiful. Thank you so much. Yeah,
I can't wait for the world to see. I feel
(13:33):
very lucky because I have a sneak peek. So I
guess my last question is, and maybe you've addressed some
of this, but still, you know, do you think Web
three and f t s have been good for women
will be good for women. I'm very bullish on what
Web three can do for women, but really curious what
you think. Me too, I think I think this is
(13:54):
a huge opportunity for us to take up space and differently.
And I, as I said earlier, like for for me,
when I got into a different community of straight art
and murals, I felt like I don't know if it
belonged in the space or I felt the same way.
And when I got into the n f T space
at the beginning that when I was a year and
(14:14):
a half ago, and it took a year and a
half or a year when I was like, oh, I
feel like there's a lot more women in here, and
I feel so much more excited about the future because
you could tell the voices are very like you feel
that their styles are welcomed and the kind of messaging
we put into our work is is you know, is celebrated.
(14:38):
And I'm like, this is I think this is a
beautiful opportunity to challenge the space, the art space. And
it's all we've always struggled to take up space and
museums and in galleries and and we do it, and
we do it well, but it's been, it's been, it's been,
you know, a challenge of its own. So think this
(15:00):
is another way for us to you know, jump jump
the you know, kind of like bypass the traditional way
of doing things and and create work and unite other
other artists and collaborate between women across the world in
the world very organic way. And I'm like this, I
think it actually has a huge opportunity for styles and
(15:21):
voices to be heard like immediately. We don't have to
wait until, you know, we get picked up by the
biggest museum or something. No. I think this is this
is the moment for us to be able to bypass
that and you know, create work that's seen in the
world like immediately. I love that. I mean, that's that's
what I'm feeling about this too. As someone who's working
(15:43):
trying to push for women's advancement in all different institutions
and places, and thank you for that. Thank you so
much for that trying, trying, trying, But now I see
that with technology there's the chance to not have to
ask for permission um and to just kind of taking
straight to the people. And and I think that's that's
(16:04):
a really exciting moment. But it's really important that the
narrative that's written around women and Web three is a
true one. And I think there are women in Web three,
and I think you know what you're doing, what the
other women artists are doing. I think this is like
a really important statement, particularly in this moment. As you
said earlier, So again, Ola, sincere, sincere, thanks for being
(16:27):
part of this collection, for what you're doing, and so
excited for the world to see it all such a
pushtion to toxicam and thank you. I can't wait to
share this. I think it's going to be a beautiful collection,
and I thank you for everything you do. I am
so honored to be, you know, to be part of this.
(16:48):
What an amazing conversation with Ola and her work is
so inspiring. Go to Seneca women dot com to see
her work and the other artists in the Seneca Women
A Quality Collection. Join us tomorrow for another Women Rule
Web three conversation. Have a great day. You're listening to
(17:08):
Seneca Women Conversations on power and purpose, brought to you
by the Seneca Women Podcast Network and I Heart Radio
with support from founding partner of P and G. If
you'd like to join the Seneca Women Network, go to
Seneca Women dot com. There you'll get access to exclusive
events and workshops, plus updates on new podcasts and other
(17:29):
opportunities to get involved.
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