As we move through 2025 and inch closer to 2026, I think it’s more important than ever to embrace the physical nature of making and sharing art.

Why? Because the digital world is louder than ever. With the rapid rise of AI-generated content and the constant noise of the internet, standing out online is becoming a serious challenge. That’s why I believe the future of being a visible, sustainable artist will hinge on having something people can actually touch—whether it’s a print, a zine, a magazine, or a book.

In my latest video, I talked about why I’m leaning into magazines over books right now. The reason is simple: they’re cheaper to produce, and that means more people can see the work. A well-designed magazine—focused on a micro-project or a short series—lets you move fast, experiment, and share in a tangible way, without the pressure or cost of producing a high-end art book.

That’s not to say I’m against books (I love them, and I’m working on one). But there’s power in the immediacy and accessibility of smaller, physical projects. These formats allow artists to grow by seeing their work in a new light, and give clients, collectors, and friends a way to engage with the work beyond the scroll.

We’re at a moment where physical presence matters. If you want to survive as an artist in the years to come, give people something they can hold.

As we move through 2025 and inch closer to 2026, I think it’s more important than ever to embrace the physical nature of making and sharing art.

Why? Because the digital world is louder than ever. With the rapid rise of AI-generated content and the constant noise of the internet, standing out online is becoming a serious challenge. That’s why I believe the future of being a visible, sustainable artist will hinge on having something people can actually touch—whether it’s a print, a zine, a magazine, or a book.

In my latest video, I talked about why I’m leaning into magazines over books right now. The reason is simple: they’re cheaper to produce, and that means more people can see the work. A well-designed magazine—focused on a micro-project or a short series—lets you move fast, experiment, and share in a tangible way, without the pressure or cost of producing a high-end art book.

That’s not to say I’m against books (I love them, and I’m working on one). But there’s power in the immediacy and accessibility of smaller, physical projects. These formats allow artists to grow by seeing their work in a new light, and give clients, collectors, and friends a way to engage with the work beyond the scroll.

We’re at a moment where physical presence matters. If you want to survive as an artist in the years to come, give people something they can hold.