By Vanessa Santuccione

Cansu Waldron is a writer and curator exploring the intersection of art and technology. Originally from Istanbul, Türkiye, and now based in New York, she earned her MA from NYU Tisch School of the Arts as a Wasserman Scholar. Through curatorial work, writing, and public speaking, she has shaped conversations around digital art and creative technologies.

In 2023, she founded Digital Arts Blog, a platform dedicated to supporting digital artists, promoting inclusivity, and fostering public understanding of digital practices. Her curatorial projects include Making Our Miracles (2025–26) for The Wrong Biennale, Blink Twice (2025) in Hudson, We’ve Been Dreaming About a Magical Jungle (2023–24), and Women of the World (2022) at NFT.NYC, featuring hundreds of women-identifying NFT artists from all seven continents.

Cansu has served on juries and selection committees for major new media awards and fellowships, including the Lumen Prize, NYFA/NYSCA Fellowships, Rauschenberg Medical Emergency Grants, CREATE SCR Grant, and UArt Media Festival in Kyiv. She has spoken at NFT.NYC, moderated panels such as The Future of Color, and contributed writing to Forbes, Lifewire, Medicinal Media, and Blue Tech Wave Media. She also appears in an NYU Cinema Studies documentary on interactive storytelling.

Through it all, Cansu champions digital artists, amplifying creative voices at the intersection of art, technology, and culture.

We asked Cansu about Digital Arts Blog, her curatorial projects, and inspirations.

*Moments from the installation of Blink Twice, Digital Arts Blog’s augmented reality exhibition curated by Cansu Peker for The Hudson Eye Festival in Hudson, NY. Photo by Karolina Kowarz.*

Can you tell us about your background as a writer and curator? And how did you get started in the field of digital art?

I studied Economics with a minor in Film Studies at Boğaziçi University in Istanbul, and then went to NYU for my Master’s in Cinema Studies. Enveloped in the world of movies, I realized that if I kept researching World War II German Cinema, I’d gain a lot of knowledge about one period, and the best I could do would probably be teaching others what I learned. On the other hand, if I studied digital storytelling and new media practices, these fields would grow with me, and I’d keep learning new things because the field itself keeps evolving.

That’s how I found myself focusing more on creative technologies, code art, interactive design, and extended reality experiences. My interest grew with every digital artist I discovered, mostly on Instagram, and through them, I realized that the world of digital art is complex, deep, and varied. I would attend immersive art experiences in New York City and think about what made them effective. During debates over whether these experiences were money grabs or the future of cinema, I got the chance to decide for myself what made some spectacular and some lackluster.

It took me a couple of years to carve out my place within the space and figure out how I could contribute since I am not an artist myself. Am I a critic? Should I be a college professor? Learning that “digital art curator” is an actual job was truly life-changing.

Long story short, theoretically it started with plain interest. Practically, it was forming connections with digital artists. And maybe most importantly, I personally think it’s incredibly cool that some people see exciting new technologies and say, “I’ll make art with it!” The least I can do is support their work.

*Blink Twice Guided Tour: Augmented Reality Exhibition at The Hudson Eye. Curated by Cansu Peker*

When did you feel the “click” that made you want to start a digital art blog?

Working as a curator, it lights me up to see how happy digital artists are when I reach out to feature their work in an exhibition. It’s as simple as them wanting their art to be seen, and me being able to support it.

But organizing an exhibition depends on so many things — venues, sponsors, logistics… I realized I could only do so many in a year as an independent curator. That’s when I imagined an online space for digital artists to get the attention they deserve.

The moment I decided to start DAB is still fresh in my mind! I was on a trip with my mom, telling her I wanted to start a blog about digital art. She asked what I’d call it, and I was like, “I don’t know, Digital Arts Blog or something?” Later that week, I was shocked to find the URL was available.

The great thing about digital art is that all I need to spotlight someone’s work is a JPEG file, which can be sent in moments from anywhere in the world. That means the group could be as diverse as possible. I started writing about meaningful works created with creative technologies, interviewing their talented creators, reviewing digital art exhibitions, and everything in between.

*Moments from the Spotlight Event for Blink Twice, Digital Arts Blog’s augmented reality exhibition curated by Cansu Peker for The Hudson Eye Festival in Hudson, NY. Photo by Pelle Waldron*

What does the blog represent in your life?

Allow me to get weird for a moment — Digital Arts Blog is like my daughter. I often refer to DAB as “she”; I’ve always felt it has a life of its own. I had a small vision of what I wanted to do when I first started, and with contributions by digital artists, it evolved into something I could have never imagined. It’s dedicated to digital artists, who went ahead and took it wherever they wanted, initiating interviews, the Community Blog section, and the Print Shop. I allow DAB to go wherever life takes it – it still grows in ways that surprise me every day. That’s why I feel like it’s my child; I can give my time and energy, but it feels like an organic being with her own agenda.

What drives you? Why do you do what you do?

In the back of my mind, I always think that fifty years from now, art historians will look back at the turn of the century and see digital art as the defining medium of our time. I want to play my part in ensuring the most meaningful works are recognized and preserved. With thoughtful curation, we can drive credibility, support underrepresented artists, and make sure the digital art that truly matters is remembered for generations. That’s Digital Arts Blog’s north star.

You've lived in Italy and the USA, in addition to your hometown Istanbul. How do you feel about the cultural differences between them?

I loved growing up in Istanbul. It’s a massive city with so much history and future. Whatever you’re looking for, you can find: old architecture, new coffeeshops, experimental theater, a Justin Timberlake concert, great food, fun clubs, cozy vintage shops, adorable stray cats and dogs, and the mesmerizing Bosphorus. The blue and the green. It’s gorgeous. Most of my family lives there, so I still go a couple of times a year. It’s always going to be home.

Italy was a dream. I was in Florence, which is probably as touristic as a small city can get, so my friends and I always felt lucky to call it home. You couldn’t walk anywhere without someone abruptly stopping in front of you to take a picture of a random corner. It gets annoying for sure, but it also helped me stop and admire my town. Yes, that random little fountain in the hidden alley is actually really beautiful. If anything, I think I learned in Italy to appreciate the aesthetics of thoughtful design. Plus, I moved there not knowing a soul, and after meeting people who became lifelong close friends, I felt confident enough to move to the United States without fear of being alone — I learned that I’ll be just fine.

I fell in love with New York from day one. I had visited as a tourist a couple of times before moving there for school, so I knew what to expect, but becoming a New Yorker was simply the best. It was incredibly exciting to see ballet performances and realize this is the future of dance — the cutting edge of museums, businesses, restaurants, and parties. I felt like I was truly at the capital of the world. I was so thirsty to experience everything. I loved how curious I became. Now I live Upstate, but I still go to the city often.

You asked about cultural differences, so here’s my favorite thing about Americans — even though I know most people don’t like it: I love small talk. I love that we just talk to anyone at the grocery store, relate to the person ahead of us in line for even five minutes, ask how the library clerk’s day is going… I love those little moments of connection with strangers. We don’t have that in Istanbul.

*Blink Twice": Augmented Reality Exhibition at The Hudson Eye, curated by Cansu Peker*

How do you think technology is impacting creativity today?

Just like any other tool, technology provides a playground for creative people to explore. I have a deep admiration for those who see things differently — people who learn software to create meaningful, beautiful things. So I think technology expands creativity, and the great thing about it is that arts will keep expanding as technology will never stop advancing. I’m very excited to see what kind of digital art we’ll be talking about when I turn 80!

Can you tell us about the art exhibitions you curate and design?

Most recently, I curated two very exciting exhibitions: Blink Twice and Making Our Miracles.

Blink Twice is the first-ever augmented reality art exhibition in Hudson, NY. It opened August 22nd and is still on view for those in the area who are curious to check it out! I was invited to curate a show for The Hudson Eye Festival and designed this very special one with five talented AR artists. It’s an invitation to reconsider the limits of perception in a world increasingly shaped by what we cannot touch. Visitors are welcomed with physical artworks in the space, and when they scan QR codes with their devices, they see the art through a new lens. I love how each work comes alive when the viewer chooses to look again.

Making Our Miracles is a virtual exhibition we’re launching November 1st during The Wrong Biennale. The concept is lead artist Clayton Campbell’s brainchild — the project brings traditional ex-voto paintings into the digital age. We conducted an open call for miracle stories where people around the world could anonymously submit extraordinary events that happened to them. I then assigned these stories to our participating artists, who used AI-assisted tools to interpret them visually. I can’t wait for people to see the collection!

You've served as a juror and judge for important awards. What has that experience taught you about art and how it's perceived in the world?

Honestly, it’s tough to discuss artists’ works with a group of art professionals to decide who deserves an award. Of course, it feels like everyone who pours their heart into their art does. I am always honored to be trusted with the task, and I make sure to carefully review applications and be as fair and just as possible. Foundations give us jury members guidelines to minimize biases, but it’s telling that they trust actual people with the process instead of an AI program — they value the input of art professionals.

The plethora of grants and awards available also shows that there is a lot of support for the arts. Some philanthropists genuinely just want to give to artists because art makes our world better. I feel like the struggling-artist stereotype can make it seem like opportunities are scarce, but that’s not true.

How do you navigate the criticism against AI art?

I actually recently had a really productive conversation about this with the Mayor of Hudson and his aide. When they heard about what I do, they immediately asked how I approach AI art in my curation, because they wouldn’t call it art. I see AI as just another tool artists can use to create meaningful work. If you’re creating a visual just by putting in a prompt, that’s not necessarily art. It’s an image you created, sure, but is every visual an artwork? If you tackle emotions, events, or some meaning that comes from your soul, and you use AI to visualize it, that, in my opinion, is art. It’s another discussion if it’s good or not!

We get applications to be featured on the blog from individuals who create generic AI visuals and mint them as NFTs — I can tell they’re not artists. Some YouTuber told them this is how to make easy money in 2025. Needless to say, they don’t get spotlighted on the blog.

It’s all about where it starts: the tool or the soul? Machine-born vs. soul-born was a hot topic my fellow panelists and I covered at NFT.NYC, and I stand by this: if an artwork makes me feel something, I don’t care what tools were used.

I don’t often have to navigate criticism against AI art, but someone saw our project Making Our Miracles on Instagram and commented that they thought it was cool until they saw the artists used AI; then they completely lost interest. Honestly, we’re collaborating with artists who use AI for this iteration because The Wrong’s theme this year is artificial intelligence. We hope to continue future iterations with digital collage artists, 3D designers, digital illustrators, generative artists, and so forth. I replied to the comment but didn’t get a response back — curious if they’ll visit the show!

*“Selfie” from We’ve been dreaming about a magical jungle; Digital Arts Blog’s official pavilion for The Wrong Biennale 23-24. Curated by Cansu Waldron.*

What advice would you give to aspiring curators who are just starting out?

Connections, connections, connections. You have to meet people in the art world, even online. Nowadays, it’s so easy to follow someone’s work and support them with just a like or a comment — just do it. Build connections. You might follow someone for a year before eventually meeting over a video call; maybe six months later, they’ll think of you for a project.

You have to show that you care, put in time and effort, and then people will care about your vision, too. Be generous, open, and kind, and the artists you love will want to work with you.