// about
THE LONG WAY HERE
Eight years, one wallet, and a lot of people who didn't have to show up.
// origin
how i got here
This isn't the polished version. It's the actual one: a guy looking for a way to earn a little ETH who ended up finding a community he never left. Selling art for $8 in ETH felt like a huge deal back then. I'm still here because of the people, not the pricetag.
-
2018
Cent
Found a site called Cent while looking for ways to earn ETH and get closer to the real crypto community. Answered a few bounties hoping for a little Ξ. It happened, and I was hooked. There were maybe 70-80 people actually using it. My first post went up Jan 3, 2019.
-
2019
First piece, first rejection
Bought my first piece of cryptoart with Ξ I'd earned on Cent, from an artist named Rob Eberle. Minted my own first piece, "Nexistance," on Editional that May: a free-minting mobile app where a community member named Connie walked me through the process. A month later I applied to SuperRare. Got denied the first time. Reworked the portfolio, resubmitted, got in on the second try.
-
2019–20
The quiet era
Back then it was really just 10-15 of us hanging out, trading art, talking about pieces. No real collectors yet. That changed once "Saint Nakamoto" set a new high on SuperRare and people started paying attention. I got onto KnownOrigin, launched $MM, one of the first social tokens in the space after Connie's. Ran seeder rewards for the people supporting me month to month: pieces like "Future Punk" went out as thank-yous, not sales.
-
jan 2021
Community > price
Helped my daughter set up her first storefront. The community showed up for her so hard she sold out in hours and was overjoyed. I couldn't put a price on that, so over the next 48 hours I gave away or undersold 21 of my own pieces, most at a net loss. It reset something in me about why I was doing any of this in the first place.
-
2021
LayerBreaker
Organized and arranged a 62-artist collaboration across 20+ countries on Async: 61 layers, 284 states, none of us having ever met in person. Async had to build new minting tech just so every artist could sign their own layer with their own wallet. That mattered more to me than the art itself: real provenance, not a shared studio credit.
-
since
P:X and the present
Launched P:X, my generative project on Art Blocks (wouldn't have without SnowFro's encouragement early on). Over 200 pieces sold across platforms, a few hundred people who've held my work, and a family that's grown up minting alongside me. Still checking the tx history. Still no thank you to the legacy auction houses.
// what i believe
I don't sell floors. I sell future.
Community is built by giving to it, not by trying to extract something from it. That's not a slogan: it's the only reason a bunch of strangers who've never met in person could pull off something like LayerBreaker, or why my daughter's first drop can sell out because people actually wanted to be part of her moment.
Photography taught me the same lesson from the other direction. A lot of it works by objectifying its subject: using people to manipulate a response. My glitch work is partly a reaction to that: showing the break instead of hiding it, because I've never seen a perfect reality and I'm not interested in pretending otherwise.
I hold what I believe in. I don't sell floors; I sell future, and I want the people who collect from me to want the same thing.
// connect
say something
Follow the feed, or find every link in one place. I read every reply.