.ART

IMX3 (IMX3.art), a pioneering company revolutionizing art and culture in the metaverse, is reshaping how art is experienced, accessed, and sustained. The studio—founded by Doug McCraw—is devoted to building immersive environments in the metaverse that prioritize accessibility and interactivity. IMX3’s work suggests an urgent and timely question: how might we reimagine cultural engagement in an age marked by hyper-connectivity and spatial dislocation?

A central pillar of the IMX3 practice is the FATVillage Metaverse, a virtual twin of the historic FATVillage Arts District in Fort Lauderdale, Florida. Under the artistic direction of Leah Brown, MFA, and creative technological lead Peter Symons, MFA, the platform functions as a living, evolving digital twin of a place which no longer exists in the physical realm. The project’s technological backbone is led by Edward Muñoz-Toro, Chief Technology Officer. 

In scale and scope, FATVillage Metaverse extends far beyond its local origins. Through international collaborations with artists and curators, it transforms a regional arts district into a decentralized, borderless platform for cultural production. 

In a recent conversation with .ART, we spoke with the IMX3 team to explore their approach to virtual cultural ecosystems. This conversation highlights a commitment to building a hybrid cultural future—one where digital space serves not as a mirror to the physical world, but as a dynamic platform for artistic experimentation, public encounter, and global participation. In their words and works, IMX3 challenges us to think critically about how we build—and for whom we build—the cultural spaces of tomorrow.

DK: What was the initial spark that led to the creation of IMX3.art?

IMX3: The creation of IMX3 was born from a convergence of need and vision. As artists and technologists, we saw firsthand how vulnerable cultural spaces were—especially during the pandemic, when access to galleries and museums came to a sudden halt. The spark came from wondering: What if these spaces could exist beyond physical limitations? What if they could evolve instead of disappear? IMX3 was founded to reimagine the future of exhibition-making, rooted in artistic integrity but powered by immersive technology.

DK: What does a meaningful immersive experience look like for you?

IMX3: A meaningful immersive experience transcends novelty. It creates a space where presence, emotion, and understanding deepen. Whether it’s walking through a digital replica of a lost neighborhood or entering an artist’s fantastical world, immersion should offer moments of awe and reflection. For us, it’s when someone says, “I felt something real—even though I was in a virtual space.”

DK: Could you walk us through the technological process behind creating a hyper-realistic, interactive space? What tools, scanning methods, or platforms are you currently using?

IMX3: Our process varies depending on the project, but typically begins with photogrammetry and LiDAR scanning for environments we want to replicate accurately. These scans are cleaned, modeled and optimized for real-time rendering in Unity. We design interactable elements—artwork interactions, portals, ambient sound, videos—using custom scripts. In fact, we’re currently pursuing patents for two technologies: ArtCast, which allows select users’ avatars and voices to appear across metaverse instances, and Gaussian Field, which enables high-fidelity immersive scene reconstruction from real-world data. All of this is made accessible via WebGL, no downloads required.

DK: Who do you see as the core audience for these metaverse spaces—art lovers, educators, artists?

IMX3: We build for a layered audience. Art lovers find new modes of engagement; educators discover new ways of exposing audiences to art; artists access a platform that honors their work in new dimensions. And increasingly, young digital natives—especially students and early-career creatives—are finding in the metaverse a space that feels like theirs.

DK: How accessible are these experiences, in terms of devices and user interface?

IMX3: Accessibility is a core priority. Our environments run in-browser across desktop and mobile, no app or headset required, although headsets do make for an even more immersive experience. We also design UX with minimal barriers—clear navigation, intuitive interaction cues, and optional guided modes. We want the technology to be invisible—just the magic of exploration, discovery, and connection.

DK: Can people meet, talk, or co-experience exhibitions?

IMX3: Yes. Social presence is essential to how we design. Our metaverse spaces support real-time co-viewing, where visitors can see and hear one another, move through spaces together, and engage in live conversation. We’ve hosted openings, panel discussions, and walk-throughs—all as avatars, but with the full richness of voice, gesture, and proximity. It’s not just about looking at art—it’s about experiencing it together.

DK: What advice would you give to cultural institutions hesitant to engage with immersive or digital technologies?

IMX3: Start by thinking of immersive tech not as a replacement for physical spaces, but as a new tool for storytelling and access. Your mission doesn’t change—your reach expands. Pilot a single exhibition. Collaborate with artists already working digitally. Choose a partner who can help you maintain your institutional integrity while exploring new creative potential. The learning curve is real—but so is the reward.

DK: FATVillage Metaverse revives a physical gallery district that no longer exists—what does it mean to reimagine this space digitally?

IMX3: Reimagining FATVillage in the metaverse was part memory, part resurrection, part reinvention. It was a place that had nurtured countless artists and exhibitions—and when it was lost to redevelopment, the urgency to preserve its spirit grew. But rather than simply replicate it, we asked: What could FATVillage become if it were no longer constrained by walls, weather, or real estate? The result is both an archive and experiment.

DK: What were the cultural or emotional stakes in preserving FATVillage in this new form?

IMX3: It was a powerful opportunity to build an artist community in both the real and virtual worlds.The emotional stakes were immense—for artists, curators, and community members who called it home. To lose a space like that is to lose part of a city’s creative soul. Rebuilding it virtually was a way to keep its memory alive and give it new life. Artists who once showed there are doing so again. New artists are joining every day. And visitors who never made it in person can now explore anytime, from anywhere.

DK: How do you see FATVillage Metaverse functioning as an alternative art ecosystem?

IMX3: It offers a decentralized, artist-driven alternative—where exhibitions are not limited by geography, cost, or gatekeeping. Artists can launch solo shows, collaborate across borders, and even sell work directly. The platform supports experimentation without the financial and logistical burdens of physical space. It’s a proving ground for a new kind of cultural infrastructure.

DK: Could it act as a new kind of cultural infrastructure for artists displaced from physical spaces?

IMX3: Absolutely. The metaverse can become a refuge and a launchpad—especially as cities gentrify and creative spaces disappear. Our goal is to support all artists with the tools, visibility, and community they need to continue their practice in new, transformative ways.

DK: What’s your approach to onboarding artists and curators who may be new to Web3 tools or digital environments? Are there support systems in place to guide their transition?

IMX3: We work closely with artists from the beginning—offering workshops, one-on-one onboarding, and collaborative build sessions. We translate their physical work into the virtual with care and fidelity. For many, it’s their first metaverse experience, so we prioritize comfort, clarity, and co-creation. Web3 tools can be intimidating, but we aim to make the entry feel welcoming and empowering.

DK: FATVillage is clearly inspired by Web3 values like decentralization, participation, and collaboration—how are you embodying those values in practice?

IMX3: Our platform is built around shared authorship. Artists curate their own spaces. Curators propose shows. Visitors participate in polls, performances, and feedback loops. We’re working toward tokenized governance and collectible exhibitions. But most importantly, we are building with artists, not just for them—ensuring the ecosystem is shaped by those who inhabit it.

DK: How do you envision FATVillage evolving over the next 5 years? Could it expand into other lost or threatened cultural districts globally?

IMX3: Yes. FATVillage is a prototype for what we hope will become a global archive of  emerging, established and endangered cultural spaces.  Over the next five years, we aim to build a constellation of interconnected artists, galleries, exhibitions and collections, each preserving and evolving the spirit of place through immersive, participatory design. The most powerful anchor of this group is the emergence of an actual and real community in a virtual environment. This community once created could live on indefinitely.

DK: Why have you decided to locate the digital presence of IMX3 within the .ART domain zone? 

Doug McCraw: Our companies FATVillage Metaverse, IMX3,and affiliated entities all have art as  “DNA” components.  This is a natural extension of integrating “art branding” into our story. Excellent marketing “ID”! 

Leah Brown: We chose the .ART domain because it immediately signals who we are and what we value. IMX3 is fundamentally about art—how it’s experienced, preserved, and reimagined in emerging digital spaces. The .ART domain aligns perfectly with our mission to create immersive, accessible, and future-facing environments for artists, institutions, and audiences. It also connects us to a broader global community that sees art not just as content, but as culture, innovation, and impact. In a time when digital identities are becoming as important as physical ones, .ART gives us a home that’s both meaningful and unmistakably rooted in our creative purpose.