"Azrael of Gaza" is my first artwork listed an @ripe0x marketplace, and probably won't be the last 🌈 10% of the profit will fund the work of @ripe0x 10% of the profit will go to humanitarian aid in Gaza 0% of the profit will go to SuperRare Link Below 🔻🔻🔻

I need to make art 🖤

GM 👀 Happy #TEZOSTUESDAY

I did a poster of a transgender Bowser dressed like Princess Peach, riding Yoshi with a Bob-omb in her hand for my daughter’s birthday 🌈✊✨ Candela writes the best creative briefings 💖

❖ objkt weekly recap — highlights from our platform & beyond ❖ ✦ @tokennation_io São Paulo 🇧🇷 - Presented a major exhibition of Brazilian digital art; featuring nearly 100 works by more than 60 artists and curated by @kikanicolela. ✦ Wrapped up #ProofOfPalm2026 🌴 organized by @Absurdeity, with 434 artists creating 860 artworks and generating more than 18,600 xtz in sales ✦ Hosted a #FYP artist Space featuring artists from the current @NFCSummit exhibition. ✦ Released #FYP on @objktone, a curated GIF exhibition exploring art, attention, and life inside the feed. Congratulations to @uczine and @eloychaperon, whose works sold out through offers ahead of release. ✦ Featured new releases from the @dropdotart community, including Pink AutoMatta #740 / 745 by @CellulaAutoMaT , TRIO SOLARIS, by @flintpope, and <TERRABITS> @andriykalkov and other recent drops. ✦ Launched @origenprints Father's Day special discount, featuring museum-quality framed prints and worldwide shipping. ✦ New update to the objkt merch shop with artist collaborations, including @sumeyrayucee, @aethersovereign, @zizzyza, @0009ine, & @bubaviedma with more items in the works. Top 5 Creators: @tezzardz @williamapan @zancan @kimasendorf @Darkfarms1 Top 5 Collectors: @PompousLL @absurdeity A E 10 U @Sneketoshi @everthallus ✦ Congratulations @Salawaki_3000 on winning @CIFRAworld's Audience Award for *Proof of Salawaki*, part of the @objktlabs residency curated by @AnikaMeier. ✦ Collector of the Week #48 @featurefrank a collector, curator, co-founder of @collective_flux, and a longtime advocate for digital art. Next up @zxmbiedrool. From São Paulo to Lisbon and beyond, thank you to all the artists, collectors, curators, builders, and community members who made another great week possible ✦ ▼ The Phantasmal Pantheon of Elysium's Simulacrum, by @ganbrood Collected by @PompousLL

I invite you all to make a deep dive into this curation I made celebrating the uber talented Brazilian community - which is not only brilliant and diverse, but also an essential part of the tezos art ecosystem since the start. 🧵

𝘈𝘳𝘵 𝘧𝘰𝘳 𝘌𝘷𝘦𝘳𝘺𝘰𝘯𝘦 𝙩𝙤 𝙬𝙚𝙖𝙧 👕👚 The objkt shop has been updated! Featuring new artist collaborations from our World Art Day Open Call: @sumeyrayucee @aethersovereign @zizzyza @0009ine @bubaviedma Explore the collection ↓ shop.objkt

Shout out to the homie @EfdotStudio for the allow list spots to mint some of his awesome new project to MUMBOT WORLD & to @The_GhostClub communities ♥️ LFGhost 🤝 LFGlif!!! 👻

Lo de los carteles de los Veranos De la Villa… ¿alguien va a decir algo? 🫠

Yep! It’s #Tezostuesday, and I’m not going to shill my work on your farming post. If you’d like to spend a few cents you can visit my profile or browse around on @objktcom for a while. After the latest redesign, they’ve made the site look really nice. gm

No

I’m so f*cking tired

Visibility, attention, and support are not decentralized. I think this idea that NFTs somehow escaped gatekeeping is one of the biggest myths the space keeps telling itself. It sounds good because blockchain infrastructure is technically open; anyone can mint, anyone can buy, and everything is transparent on-chain. Fine. But visibility is not decentralized. Attention is not decentralized. Support is not decentralized. And those are the things that mostly determine (especially online) who gets to exist culturally. The reality is that NFTs reproduced a lot of the same social structures as the traditional art world almost immediately. A small group of artists became canonized early, collectors clustered around them, platforms amplified them, and then everyone else was told the ecosystem was “open” while competing for scraps of attention in an economy driven almost entirely by visibility algorithms and insider networks. The success rate for artists experimenting natively in NFTs is not radically different from the traditional art world (something I personally have experimented with first in my trad art career because I am Mexican and not in the USA or Europe, and secondly in NFTs because I was late and not doing generative art). We act like this was some mass liberation event for artists, but how many actually built sustainable careers? How many received long-term support? How many got to keep experimenting after the speculative wave cooled off? Very few. The artists who succeeded were largely the ones who were selected early, platformed early, supported by collectors early, or given enough visibility to build communities around themselves. That’s not an insult, it’s just reality. It mirrors traditional art structures much more than people want to admit. In both systems, a very small number of artists are given enough oxygen to continue evolving publicly while most others remain invisible despite producing meaningful work. And I think this obsession with “nativeness” sometimes ignores how much of NFT culture was financially accelerated by speculation rather than by some fundamentally new social model. The transparency argument is interesting technologically, yes, but transparency of transactions doesn’t eliminate power structures. You can see the hierarchy more clearly, but the hierarchy still exists. Maybe even more aggressively because everything becomes publicly quantified. You can literally watch social consensus form in real time around a chosen set of artists and collections. You can watch people chase wallets, mimic buying behavior, perform affiliation, and build prestige loops. That’s not the disappearance of the art world. That’s just a faster and more financialized version of it (which is fine!). And this idea that traditional art is slow and NFTs are somehow more democratic because they circulate faster, I don’t fully buy that either. Fast circulation often benefited speculation more than artistic depth. A lot of artists became trapped producing for velocity, relevance cycles, timelines, floor prices, and engagement. The market rewarded constant visibility, not necessarily sustained artistic thinking. This I would also argue, is one of the biggest problems of our space. One could argue that great gestures take time, not just efficient network distribution. I also think people romanticize “community” in NFTs without acknowledging that communities are often formed around asset performance first and art second. Not always, but often. If prices collapsed, communities frequently disappeared too. That might tell us something important about the underlying structure of our space. What drew myself and many traditional art people into crypto initially wasn’t simply that it was “new.” The art world is constantly exposed to novelty. What was compelling was the temporary feeling that alternative forms of circulation and patronage might emerge. This felt like I was going to skip the gatekeeping I had experienced for being born in the South. But over time, what actually I saw emerged was another status economy with its own elites, its own language, its own institutions, and its own mechanisms of exclusion. Partly why I decided to create the projects I create was because I saw the massive opportunity that existed but that artists would need help to be seen, supported, and collected. NFTs are the most exciting space for contemporary art right now IMO. I fully believe blockchain has meaningful implications for provenance, digital ownership, artist royalties, and online-native cultural forms. But I think we have to stop pretending the ecosystem escaped human behavior or escaped the concentration of power. It didn’t. The same dynamics exist everywhere: a few artists become legible to the market, a few collectors shape discourse, a few platforms dominate visibility, and most artists remain structurally peripheral no matter how “open” the infrastructure is. That’s not failure. That’s just culture. The mistake is pretending that code dissolved it 🤔🫣🥺

Wheelbits is one of my earlier onchain generative experiments. Small machines generated entirely onchain. Built from symbols, geometry and repetition. Mint is still open. wheelbits.jrcasas.com/

GLiFS by @Efdotstudio 300 symbols 3,000 collector-made compositions. One shared visual language. Drops June 3 ⛵ opensea.io/collection/glifs

I love @EfdotStudio and I love Glyphs.... Its really that easy.

Ei kids!! You are not underrated or undervalued. No. Others are highly overrated and highly overvalued, and it’s not bc of their art. So, don’t worry. Don’t let endogamic narratives bring you down. Let’s work.✊

gm and do your best

I find myself in the uncomfortable position of loving artists and wanting them to be happy, while simultaneously feeling a powerful urge to kill and eat their sacred cows.

Some people want cryptoart folded neatly into the broader “digital art” category because it’s easier to market, broker, institutionalize, and control that way. But for many artists, cryptoart was never about recreating trad art with pixels. It was a rejection of intermediaries, gatekeepers, and permissioned systems altogether. The most interesting parts of the cryptoart movement are fiercely independent, experimental, and culturally disruptive, closer to past countercultural art movements than to a sanitized vision of “digital art.” Some movements are meant to disrupt the status quo, not be absorbed by it.

This week I saw someone sell an exact copy of a painting to another person who was genuinely excited to own it, and I thought: here we go again, the usual people doing what they always do , selling their discourse so their bootlicking audience can buy into it. What I didn’t expect was to see familiar “curators” buying that discourse and making it their own. The Spanish designer Cruz Novillo, who recently passed away, had a memorable quote: “The designer shoots an arrow at a target with the intention of hitting the center. The artist shoots an arrow and paints a target wherever it lands.” That feels more true than ever in this space today. You are embarrassing yourselves and draining the energy of the people who genuinely strive every day to become better creators. You won’t succeed. We’ll keep creating , in this space or somewhere else. Meanwhile, you can keep making fools of yourselves inside your little cabal