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Happy New Year, friends. Work hard and don't burn out
I have just collected "The Grind (Scene 3)" by @3dlyfer on @objktcom
objkt.com/tokens/KT1NPap…
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vaxarus
10.1K posts
vaxarus
@vaxarus
// Creative artist // Experimenting in the style of abstract photography // Collector
Universe Katılım Ekim 2019
470 Takip Edilen724 Takipçiler
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I have just collected "It all happened so fast" by @iblastoff on @objktcom objkt.com/tokens/KT1XaCf…
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I have just collected "A person getting up from the floor" by @ilyabliznets on @objktcom objkt.com/tokens/KT1XaCf…
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Unpopular Opinion:
Artists, if you have only a few pieces left, resist the urge to blast it everywhere with countdowns and "last chance" alerts.
You don't need to create FOMO for serious collectors to collect.
Let the art simply exist, quietly and confidently.
The people who truly connect will discover it through organic paths.
They'll buy not out of panic, but from thoughtful conviction.
Trust the work. Trust the right eyes will find it.
The art that finds its people without force tends to stay cherished the longest.
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Now only available at secondary starting at 20 tz. Thank you @absurdeity @ElCanario38650 and @vaxarus for collecting!
Greg Nikshumika@GregNikshumika
"Heroes' Rest" / Sometimes the best thing to do in your journey is rest. Even heroes need to rest. Ed 5 / 9.99 Tz.
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This month World of Interiors featured my 2021 @artblocks_io project Loom in an article on the relationship between textiles and technological advancements by Kassia St Clair.
Slowly bringing generative art to the mainstream 💪
🔗⤵️
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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.
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