serezha galkin

@bagdelete get a proper setup for rendering stuff - no do anything that is possible - yes

@graphicapng I will. Need to try everything possible lmao

i WILL render this video

@bagdelete get some of those blue dry ice things heh

@graphicapng It seems even this wasnt enough 😭

a personal reinterpretation of La Danse by Henri Matisse. another output from the creation process is here.

You should have a toilet in every room, in case... you ngmi...

@gxfmvii Gotcha, thanks 🙏

@graphicapng 7th one over on yer webbo [:)]

Got some oil colors.🇺🇸🛢️🦅

@1muralist1 Have you finished the breakfast? Circa 2025 🚨

@graphicapng Ok. Now what? x.com/1muralist1/sta…

@gxfmvii Which Japanese kid 😵‍💫🫢

@graphicapng Cool comp [:)] I just cruised yer webbo...and that Japanese kid w/ the flowers looks so cool in that byte-look. Thought I'd say...very well

@UnknownCo123 @ttiimmees Lmao same, why there is no double ss at the end?

A lot of crazy stuff has happened in this space over the years but there is one thing that haunts me ever since: that name change from Santiago to @ttiimmees

@DagieDee Tbh it feels so punishing to experiment or do anything new here.

Crypto art won’t fail because prices collapsed. It will fail if it cannot produce meaning that exists outside its own echo chamber. Right now, too much of the space is obsessed with proving to the traditional art world that it matters. That’s already a losing position. The real potential of NFTs on decentralised networks is the construction of a new global distribution infrastructure, where art can circulate without the need to rely on traditional gatekeepers. But that infrastructure only becomes historically meaningful if it expands beyond crypto art itself. For now, most serious contemporary artists still don’t feel addressed by this system. Not because they’re conservative, but because the discourse is dominated by collectors defending the value of past acquisitions rather than artists exploring new possibilities. If this remains a closed scene speaking primarily to itself, it will be remembered as a financial subculture, not an artistic movement. If it shifts, and becomes a space where artists from across the global contemporary art field actively want to work, experiment, and build audiences, then something else happens. For that to happen, the scene needs to stop looking backward and start building toward that future. The Tezos art ecosystem already moves in that direction, with infrastructure and culture that prioritise artists and experimentation. Other chains, including Solana to some extent, show similar tendencies, but the shift is not yet structural across the space. This way crypto art is no longer the movement itself, but the precedent: the first art scene to construct decentralised distribution networks that later art movements inherit. That is the only version in which crypto art survives history.

Sad 😔

@MagdaGangsta I mean just, knowledge is nothing without the experience…

@graphicapng Luckily I am not a mathematical genius ;)

Oh, absolutely… I’m deeply fascinated by the idea of asking Lola a question. After all, educated people, artists with formal training, art historians, and anyone capable of reading and interpreting cultural context on their own clearly need everything reduced to a digest from Wikipedia. It’s genuinely impressive how easily one can underestimate the intelligence of the artistic community. Perhaps you could ask Lola whether she’s able to offer anything that isn’t just a neatly repackaged summary of the internet, because at this point it feels more diminishing than enlightening.

@PasanenJenni 😁🚨

@andrevv_jones 🫡yessir

@graphicapng YEP

In love with the minimal textural glitches.

@PasanenJenni pushed like adobe

AI is being used like asbestos once was: Pushed into everything for convenience and profit before anyone truly understands the long-term consequences.

@Ryak_eth 😵‍💫

@graphicapng mmm 😋 or nin g

hang in there fren... isok🫢