Crypto Corral
7.5K posts
Bitcoin Ordinals have landed on Raster!
We are rolling out support in stages, starting with CENTS by Rutherford Chang (in collaboration @sovrnart).
Paste your Bitcoin address in your collector dashboard to see CENTS next to the Ethereum and Tezos works in your collection.
A few notes:
• sat rarity is included in the traits section, next to artist-defined traits
• market data (e.g. past sales) is aggregated from Magic Eden and @Satflow
• support for buying/selling to be added
Many more collections and platforms coming soon.
Turn on notifications to follow our Ordinals roll-out closely 🔔
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One of the greatest lessons of getting older is realizing you can set things down before trying to open a door.
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Congrats @Micah_Johnson3!
Micah Johnson 👨🏾🚀🚀@Micah_Johnson3
Thank you, God for guiding me here. There were so many things on this journey I thought I wanted. But you steered me away from them. Sometimes in harmless ways. Some seemed insurmountable. But every closed door lead me HERE. Thank you. 📕 Aku: Journey to Ibra out now
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Phenomenal art and mechanics. 🫡
Modest@m0dest___
i am very proud of the work. i am really honored that people are energized by the project. time will tell for the rest. today i am pleased.
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Crypto Corral รีทวีตแล้ว
Across the Living Room Extravaganza series, Harman treats the domestic interior as an interface where conflict is watched, curated, or endured at a remove.
🖼️🍾👉deca.art/t8chy0n/the%20… @NorrieHarman
These rooms are not uniformly “serene”: some are opulent and intact, others are already breached, burning, or collapsing into rubble.
What persists is the moral friction of mediation, television glow, window-frames, theatrical openings, and glitching surfaces that flatten catastrophe into something viewable, navigable, and strangely compositional.
Harman’s fractured brushwork and pixel-like ruptures make that collapse literal: the boundary between the virtual and the actual, between “outside” war and “inside” life, breaks down on the picture plane.
In Living Room Extravaganza (2024) held in the The Service Class at the End of the World - Harman x t8chy0n Collection, Harman stages a gilded chamber of laughter where the bourgeoisie celebrate beneath ornate chandeliers and surrounded by champagne bottles and many glasses filled to varying heights, as if time itself were being measured in celebration.
Yet the room cannot seal itself: through a vast opening, the war-torn exterior asserts its presence where amidst the rubble, children peering inward, reversing the direction of the gaze until the party becomes the spectacle. A decisive hinge is recursion: a framed derivative of Arcade Joe hangs on the wall, making war not only “outside the window,” but also inside the room as décor; violence mediated into image, image into ornament, ornament into atmosphere that can be toasted.
The result is an uneasy indictment of distance: catastrophe can feel endlessly present and still remain safely “over there,” until the work reveals that distance itself is a luxury unevenly distributed.
Felix║t8chy0n.eth@felixgwong
Woah. Gifted Android Plaza — Patrol Study (2026) by the incomparable @NorrieHarman. 🎁🩷 A window into the deconstruction process behind Patrol Unit — where authority first fractures into abstract marks and icy fuchsia fields. Grateful. 🚔💎💕
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Woah. Gifted Android Plaza — Patrol Study (2026) by the incomparable @NorrieHarman. 🎁🩷
A window into the deconstruction process behind Patrol Unit — where authority first fractures into abstract marks and icy fuchsia fields.
Grateful. 🚔💎💕
Felix║t8chy0n.eth@felixgwong
In Patrol Unit — Android Plaza 2026 @NorrieHarman, photojournalistic encounter erodes from within. The scene retains the grammar of enforcement, but identity won’t stabilize, details snag and dissolve, and the “who” of the image collapses into the “role.” deca.art/t8chy0n/the%20… What makes the work distinctly Android Plaza is that its “breakdown of data” isn’t presented as a stylistic glitch but as a procedure; interference, not restoration. The fuchsia field behaves like a system layer that floods the scene, contaminating atmosphere and light with painterly, toxic radiance—emergency haze, UI overlay, chemical flare; paint acting like signal. Across that disruption, the human figure becomes a battlefield rather than a balance, recalling Gerhard Richter in mediated blur and Francis Bacon in the pressured body rendered as event. Within “The Service Class at the End of the World — Harman × t8chy0n” Patrol Unit fits by shifting critique from mediated speech and boardroom management to street-level enforcement, where narration becomes procedure and procedure becomes action. The scene holds in procedural suspense (assembling before an action or processing its aftermath), performing the same routines either way: icy, impersonal, administrative. In the end, the piece is neither reportage nor portrait: it is the remains of representation, flickering in the wreckage, where even authority cannot keep itself fully intact.
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