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Nicole Buffett, founder of Nicole Buffett Studios

Nicole Buffett, the granddaughter of legendary investor Warren Buffett, has made a living off of NFT.


Nicole Buffett, founder of Nicole Buffett Studios, talks about her studios and She identifies herself first of all as an artist, then as a writer and speaker who believes in the power of art and kindness to heal the world. The interview was conducted during JABOY Productions ELITE Global Leaders Conference in Madrid, where Nicole Buffett attended as a keynote speaker at the

aturday, May 20th 2023, for the Premiere of May December by Todd Haynes

Natalie Portman

Dior Beauty face, was dressed in Dior by Maria Grazia Chiuri. Make up by Dior.

She wore an embroidered tulle Grand Gala dress, fall/winter 1949 Dior Haute Couture Collection.

For the face : Dior Forever (Matte) : 2CR Cool Rosy, Dior Forever Skin Correct : 2CR Cool Rosy, Rouge Blush : Bal 250 For the eyes : Palette 5 Couleurs Couture : 073 Pied-De-Poule, Mascara Diorshow Iconic Overcurl : 090 Black For the lips : Rouge Dior : Satin 277 Osée



BEAUTYHiba Abouk was made up by Dior.

MEN'S FASHIONCory Michael Smith was dressed in Dior by Kim Jones.

Follow Dior at Cannes on Instagram: #DiorCannes #StarsinDior

Diamond 5

Photos: Nicole Buffett Studios, talks about her studios and rld

What brings you to the majestic Madrid ?

Well, what brught me to Madrid was the Jaboy Conference. This is my first time in Spain, and it's such a pleasure to be here. After having met Jaboy and the group, everything has opened up for me to experience Madrid and give a speech at the event. I live on a 2-acre farm, and I have kind of attempted to develop my own art sanctuary there. This community includes an organic farm as well as my art studio and enables me to work in nature when I am not spending time with my family in Los Angeles, so I have the best of both worlds.

Web 3 and AI are important topics to you, why?

The first panel that I spoke on in Madrid was about Web 3 and AI, how they impact culture globally, and the implications that they have on humanity and our culture. And also how it has had an impact on my work as an artist. I have been pretty immersed in that word since it began, being arguably one of the first traditional artist women to enter this creative space of Web 3, which was really exciting. Thus, transcending my traditional fine art into a digital context has been a really interesting journey for me.

How did this opportunity arose?

This opportunity arose because of the Club House and the pandemic, which became at that point the only opportunity to connect with people globally, basically exhibit my work in this digital context, and continue my career. From there, it activated my career more; the constraint of the pandemic propelled me to a much greater extent than I would have been inspired to otherwise. My collector base is all over the world, and I started using Twitter for the first time, allowing for direct communication with so many different people and talking about my art. So it was a blessing in disguise.

Thus, the website with all the work that I have done over the past two decades, which was already sold, meant that I was in a transition in my career anyway. So it happened that I moved to make NFTs, and this was then happening in real time. I would make NFT collections, which would all sell out. In the first year, three out of four NFT collections immediately sold out. I would also send the original pieces of art to the NFT collectors, and that is something that I have done from the early stages. So this technology became a new layer of my creative technology, and with all the parts of the process related to cryptography and cryptocurrency, as well as organizing and managing my content, it all together became a whole new dimension. (This led to Nicole being listed as one of the Top 50 influencers in the NFT space by Fortune Magazine, alongside Paris Hilton.)

Tell us about your process of creative state of mind and creating art?

I am getting into the subtle body experience of emotion, using a different emotional intelligence to guide me, and taking decisions without really following my instincts. It can be described as a primordial thought process. I allow myself to process what I shape. I love to start the process with a method that I developed involving water, where I have a white canvas and start by applying water to it. I work in nature, usually with paintings placed flat on the ground; my work is really painting with the forces of gravity.

So the painting almost imitates the ground with its surfaces and shadows from the sunlight falling onto it. So the painting is using me to make it. And I design the panels and work with a friend of mine, an amazing carpenter in San Francisco, to cut different shapes in a basic plywood panel that I paint on to give the illusion of surfaces and shapes that are cut out of the space. This is the actual place that I projected on the painting. My works of abstract surrealism have physical dimensions, and the space thus becomes material.

What are the key symbols and emotions that you seek to evoke trough art?

The shapes that I chose have a lot of meaning. One of the things that I like about abstract art is that it allows the viewer to bring their own meaning and associations to the work, and I like to enable the viewer to enter this subjective world of emotions. And I am not imposing a preconceived idea here, but only proposing the space that I invite you into and inviting them to define their subjective experience of it. African music is also a big part of my work and painting process in the way that it inspires me. I also play an instrument and am planning my first trip to Senegal to attend a music workshop.

How did your evolve as a creative individual and artist trough painting?

Speaking on the other hand about modernist art and old-school art studios, it is true that in order to do that kind of work, it requires working in a studio as it is more painstaking and more technical, which all combined require more time. And I respect that work, and I am grateful that I have been able to develop myself from the point when I was a figurative painter. As I became more and more trained as a painter as a student of art professors, I also learned from a professor that an artwork is not necessarily more valuable if you spend more time making it. He argues that an artist's whole life experience is projected into a particular work, and it should not be underestimated that even when an artist is not working in his studio, the combined impressions and information from the world around him are influencing the artwork. Thus, everything that happens to me as an artist also becomes part of my work, regardless of time.

How does your daily creative process look like?

True, sometimes I spend hour after hour working in a studio, and other times it's short and intensive, and there are layers, so I let that sit and dry. I sometimes work on multiple paintings for that reason.

I started painting very early, but from high school on, I developed my portfolio and started to paint daily.

You recently said that you come from a creative family or "family of artists"?

Erica, my twin sister, who is a mother, my best friend, and a jewelry designer, makes pieces that can be used in meditation and are often made of 108 beads. Each collection at supports an environmental or social cause and has an original physical piece attached to it, such as a painting or one of these jewelry creations, that has been paired with a digital asset, such as an image or a video, that the collector can save to their own Web3 wallet.

What is the universal message that you wish to send as an individial and as an artist?

Speaking about the environment, pandemics showed us that Mother Nature was our savior and that we are nature and part of nature.

Furthermore, we, as humanity, are connected as a nuclear family. It is the opposite of the 1960s utopian idea of community that imperatively shares everything, although indeed we are sharing everything, and how we do that and the structures and mechanisms that regulate this through systems of autonomy inside a shared collective are important to understand. This includes not only the resources but also the physical space and financial exchange. This is how we need to think of ourselves as a society that is organized like a nuclear family.


AIM Global 2023 will shed light on the global investment scene and the need to formulate mechanisms and strategies that promote sustainable and green investment choices. It will focus on the vital sectors, facilitate the flow of capital and foreign direct investment, explore possibilities to utilise technology to realise sustainable development goals, and boost economic growth within the framework of sound policies.

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