As discussions around tokenizing real-world assets heat up, LiveArt is building one of the most cutting-edge platforms at the intersection of art, culture, and blockchain. Today, LiveArt launched the LiveArt AI Agent, aimed at helping collectors explore and manage their growing tokenized assets, setting a new standard for accessibility and intelligence in the field.
We interviewed co-founder and CEO Boris Pevzner, an experienced entrepreneur with a background in technology and traditional art. Together, we explored the company's vision of democratizing ownership.
From connecting Web2 and Web3 collector cultures to creating tools that make artworks and luxury goods accessible, Boris shares how to make this space both trustworthy and intuitive.
In the upcoming interview, Pevzner shares his views on the direction of tokenized collections and why AI may be the key to unlocking its future.
OpenSea: You described LiveArt as a bridge connecting the traditional art world to Web3. What is the biggest challenge in connecting these two communities?
Boris Pevzner: I think the cultures of these two communities are completely different. Furthermore, we are not just involved in the art space; we are a decentralized ecosystem aimed at bringing the world's most desirable real-world assets on-chain.
This is our broader mission; artworks are an important part of it, but we also focus on classic cars, fine spirits, watches... all physical assets, rather than financial assets. Other companies deal with financial assets, while we handle physical assets and bring them on-chain.
So when we talk about connecting two worlds, it refers to various types of assets, and the commonality that connects Web2 and Web3 is the concept of ownership, which is what links the offline and on-chain worlds together.
The concept of ownership is crucial, whether it’s physical assets in Web2 or digital and self-custodied assets in Web3. Our mission is to ensure anyone can own these assets, even if they traditionally couldn't afford to.
Not everyone can afford a million-dollar painting or an expensive car, but with blockchain, tokenization, fragmentation, and even AI guiding your portfolio, you can own them in both digital and on-chain ways, democratizing ownership.
Today, cultural differences are vast. The traditional world is exclusionary and closed, especially in the art field, while Web3 is passionate, open, and community-driven. For us developers from Web2 backgrounds, experiencing this cultural shift is refreshing.
Our community now spans the globe, with participants from over 100 countries and about 13 million wallets. Whenever we release a segmented Drop project, whether it's artwork or other assets, we can see this open and enthusiastic participation. People post about their collected prints and artifacts on Twitter, and this openness is starkly different from how people behave in the traditional asset world.
OpenSea: How do you explain the value of tokenizing things like physical artworks? I know the scope of what you cover goes beyond just art, but let's take that as an example. How do you help newcomers understand this concept?
Boris Pevzner: This goes back to what I mentioned earlier: the ownership experience. People who own physical artworks enjoy hanging them on their walls; they can see them, touch them, and showcase them. They are tangible and highly personal.
When you break something into fragments - we call it fragmentation - you need to digitally reconstruct that ownership experience, which is something we've thought deeply about.
We believe ownership is not just about having an item; it's also an opportunity to interact with culture, financial insights, and even the artists themselves. It becomes a multidimensional experience that fuses emotional connections, financial data, and real-world touchpoints.
We break it down into five core pillars:
Source and authentication: This is the technological foundation - certificates based on blockchain authenticity, transparency, valuation history, and appraisal data. Buyers need to be completely assured that their digital assets correspond with real-world items.
Cultural and emotional connections: We create immersive narratives around each asset - videos, interviews, AMAs, and curated content. Asset owners typically have a say in how and where their works are displayed.
Expert access: Including in-depth market analysis, curator lectures, educational webinars, and sneak peeks of new products.
Real-world practicality: At offline events, especially cryptocurrency conferences, we provide real experiences, and some token holders gain VIP access related to their assets.
Financial exposure: These are high-performing alternative asset classes: artworks, whiskey, classic cars. Retail investors previously had no opportunity to participate, but with asset fragmentation, they can engage without needing to invest huge amounts.
We continuously improve the way these elements are packaged to create a complete and ongoing ownership experience - not a one-time purchase, but something that evolves over time.
OpenSea: This is very helpful and insightful. I'm eager to learn more about your new AI agent; it's quite intriguing. Can you tell me why you created it and its intended purpose?
Boris Pevzner: Of course, the reason is simple. If you are a collector with thousands of items - paintings, cars, whiskey - you need to figure out their value. You need to understand what is valuable, what can be sold, and what performs well.
When you're dealing with fragments of these assets, the same applies. Today, we've only broken down a few dozen items, but eventually, the number will reach thousands or even tens of thousands. So how do you manage these items? How do you balance works by Picasso and Warhol with collections of Lamborghinis or Patek Philippe?
This is the purpose of the AI agent. Similar tools exist in the traditional finance world for blue-chip stocks and cryptocurrencies, but so far, there hasn't been a similar tool in the realm of alternative assets in the real world.
It can help people build and manage collections, understand pricing and risks, and guide the momentum of specific asset categories.
We didn't start this platform from scratch. Three years ago, our first product was an art data platform with over 10 million historical sales records, showcasing the current market value and trends of different types, artists, and asset types through AI analysis. This became our foundation.
Now, the AI agent has mastered this data, located at liveart.ai, and can answer questions like 'Who are the currently top-performing artists?' or 'How does Picasso compare to Lichtenstein?' It provides real answers based on actual market data and price charts - all the information you need to make informed decisions.
OpenSea: That's awesome! I saw those suggested prompts - it's a clever way to help people dive deeper, from raw data to actionable data, it brings about a huge change.
Boris Pevzner: Exactly. So far, the feedback has been great. I believe this tool will ultimately become crucial for industry insiders, much like a Bloomberg terminal - without it, you cannot navigate the financial markets. We believe once fragmented assets scale, the same will apply to this field.
OpenSea: You previously mentioned that tokenized artworks have changed the relationship between collectors and artists. I'm curious, what patterns or themes have you seen recently in the interactions between these groups? How has this relationship evolved?
Boris Pevzner: This involves several types of relationships. When we think about the audience, we consider investors, collectors, and traders, each with different behaviors and motivations - frankly, this is the same in the traditional art market.
Some people buy artworks because they love them; they provide aesthetic satisfaction or social recognition. Some buy artworks for long-term investment, while others, like traders, art dealers, and resellers, focus more on transactions, constantly buying and selling art.
The same rules apply in the digital world, but the difference lies in how collectors behave. Digital collectors are more open; they showcase their collections and share online, while traditional collectors focus more on privacy and rarely disclose their collections. The whole culture is more closed, while Web3 culture encourages openness and community.
Some artists like this - they enjoy being with collectors and interacting with the audience. These artists thrive in this new cultural environment, while others are more reclusive and prefer to work in their studios without getting involved, so they find the Web3 model less appealing.
It's important to clarify that we primarily work with artists from the traditional world. Many of the artists we've tokenized rank among the top 20 globally, and most of them have passed away. Therefore, our relationship with the artists is not directly relevant but rather related to their brand or legacy.
Take Warhol, for instance - we've tokenized some of Warhol's works, and people understand these images and symbols. This relationship is more akin to that with luxury brands, which is why artists like Warhol or Takashi Murakami collaborate with fashion companies; their works exist in that cultural space.
OpenSea: Exactly, to some extent, the feeling of purchasing blue-chip NFT collections is similar - it's not just about the art itself, but about identity, and how people wish to be perceived. It represents both a sense of belonging and a form of self-expression.
Boris Pevzner: Exactly. The same is true for traditional collections. People often purchase an item because someone they admire bought it. This behavior is consistent across various categories - it's human instinct. However, the way the Web3 community operates is different; its purchasing methods, preference displays, and interactions are all more public and dynamic.
OpenSea: What role do ART tokens play in LiveArt's long-term vision?
Boris Pevzner: It's crucial. It's a utility token, but it has its uniqueness; it supports governance, allowing holders to decide which artists or categories we should focus on. At the same time, it can also build a strong incentive system.
Many mechanisms already exist in our current points system. The token hasn't been released yet, but it will inherit the same mechanisms: the more participants - through collecting, participating, or supporting Drops - the more rewards they will receive.
You can also use the token to purchase limited edition fragments from major artists. Therefore, it's both an access pass and a utility layer. Our idea is that this token will deepen all our existing work, and once it's live, it will enhance community cohesion and engagement.
OpenSea: Do you have anything else you'd like to add? Is there anything we haven't mentioned that you think readers should know?
Boris Pevzner: I think the two most important ideas are: first, the ownership experience; second, the importance of AI in exploring this new world.
People sometimes wonder why owning a part of something can feel more meaningful and even more valuable than owning it all. We spend the most time thinking about how to make this ownership experience rich and lasting, rather than just transactional.
Regarding AI - today, these tools may seem like toys, but they will become essential. As this type of asset grows, AI will become the only practical way to navigate it. Just as chatbots are replacing search engines for information, AI agents will become tools for managing collections, building portfolios, and making decisions across varying asset classes.
Each piece is unique - even the artist's own works. Warhol holds immense market value, but each of his pieces has different qualities. Comparing two Warhols - or a Warhol and a Yayoi Kusama piece, or even a painting and a car - is quite complex.
We need technology that can address this issue. If these asset classes are to be accessible and investable for the average person, we need to provide them with tools to explore, analyze, and make confident decisions.
OpenSea: Absolutely, that's a great way to integrate; thank you very much.
Boris Pevzner: Great, thank you again.
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