David Cash: Hello everybody, welcome back NFTS.WTF. My name is David Cash editor in Chief and we’re here today with another one of my favourite artists, Mr. Wes Henry. Thank you so much for joining us live in your current hometown of Denver. 



Wes Henry: That’s right. 


DC: Appreciate you being here. I mean, you’re always here right now. But well, if you’re not in LA, but yeah, how are you enjoying seeing a million people drop down on your hometown right now. 


WH: I mean,  I think it’s this. It’s pretty insane out there with all the food trucks and stuff. But it unfortunately for everyone that came, we got dumped on with snow like 2 days ago the temperature dropped so, It’s normally nicer than this believe it or not, in the winter it’s I mean Denver is like I’m from Chicago. It’s very cold there and very not sunny for like half the year and it is sunny almost every day in Denver which that’s why I moved here. 


DC: I mean, it’s still pretty nice out, I will say even with some snow on the ground it goes. 


WH: the sun goes down and you need to coat if you’re not from the cold climate you need a coat.  


DC: Yeah, I mean I’m still wearing a coat, I’m Canadian also for reference. But yeah, it’s not so bad, it’s pretty chill here. Yeah, but yeah, it’s really cool to see so many people descending on this space. You know this event is been going on for I think five years now, but you know a lot of the people who’ve gone before are saying, you know, it’s really interesting this year because this is the year that you know the NFT crowd is kind of come, you know, come into their own and and join this space you know, as like a legitimate you know space so. 


WH: Right. 


DC: You know you’re obviously an NFT artist and you’re also based in Denver. How have you found the space growing over the past? You know a little while and maybe you wanna talk about how you initially got into it. 


WH: Sure, so I’m I don’t need you could. You call me like an OG in this space or brand new, depending on. How you think right? Because? 


DC: Your metrics, yeah. 


WH: So I essentially started, so I’ll give you kind of my back story. Then I’ll answer that where I was, so I lived in Chicago, was born and raised. But then I went off to college, came back, got a job, and built a career. I was going to be a philosopher. I majored in philosophy in college, which is a surprise to a lot of people, but I was going to be a professor and I thought you know what I think I’m gonna have a lot more fun and make a lot more money if I stay in art, so commercial art was the name of the game Adobe was you know, like, I don’t want to say just starting out, but just starting to dominate like computer art was obviously a big deal, so I learned the Adobe suite, the creative suite like Photoshop, Illustrator and all that got a job in the industry was like an art direct like a designer art director. And then all the way up to the creative director and it was a creative director for a while and. It’s a cool job for a nine-to-five job, but COVID hit. I was just not living a healthy lifestyle. It’s very stressful because it’s like that show Mad Men. 

I mean, it’s I couldn’t even watch that show because it was like give me like anxiety. 




WH: Yeah, because it’s like you know, like alright we gotta come up with a $4 million idea and you got till Friday and it was like oh my god, like my heart palpitations that’s what the creative director. Does is you have to do that and then  I’m standing in a room with a bunch of suits that don’t know me and I’m pitching some. You know, they have to put so much money into it for it to work, but so it’s a pressure cooker so everyone blows off steam afterwards. So everyone is like sort of an alcoholic, has drug problems like creative departments are insane. That was like the running joke is like if you want to get rid of them, just do one drug test and everyone’s fired. So it’s like. It’s a crazy place. It’s fun, but it is. I think in most places, toxic, so and you don’t really know that until you leave it and it like kind of washes or like gets out of you and you wash clean of it. 


DC: Oh wait, that’s not normal behaviour, actually. 


WH: Right and so once COVID hit and you kind of like, I think the world like reassessed what is important and at the beginning of it, I was just like I don’t want to do this anymore and I looked at like the top people in the industry. I’m like I don’t want to end up like that, so I just quit. I was like I have a freelance business I can make a pretty good living just on my own and I’m like I don’t care if I have to eat beans and rice. I’m going to try to make it on my own. And then I got sober, stopped drinking, smoking everything and like got fit and I was like I’m going to go back and start doing art again. So I hadn’t done art in my life since high school, essentially. Where I was an artist my whole life..


DC: Like art art.


WH: yeah like creating because I want to, not ’cause the client. Is paying me to. 


DC: Not off a brief


WH: Exactly yeah so I started doing art again in procreate on an iPad and I had just had the little iPad and I would post to Instagram and see if people liked it and then Instagram just went, like way up and I opened a print shop and I was like man. Wouldn’t it be amazing if I could sell like one print a day for like 150 bucks? Wouldn’t that be an amazing life? There’s still like, you know like that’s the dream, but I had to you know just to stay afloat and pay bills and everything, do like branding projects and website design. 


DC: Some freelance.


WH: Right exactly so I had a full client roster. But then, out of the blue. So I’m also a boxer, there’s a gym in Chicago that I belong to and I redid their branding this guy trained me for free for like a year and It was amazing like that’s the perfect trade deal. So I did a lot of boxing art and then I was working with the guys like we should try to do this NFT thing and I was like I don’t know what the hell you’re talking about this was like over a year ago. This was like last. A year before last November, and so I did one test which Rarible was like where it was at at the time. 


DC: yeah


WH: OpenC was just like a shitshow so we like, can I swear on here I don’t know?


DC: Yeah, yeah, it’s called what the fuck



WH: so I did I minted it on rarible and it like I had like two of my like best friends were like bidding and it was like they weren’t going over like 200 bucks like this is ridiculous. Randomly, I don’t know how random it is logan Paul dm’d me on Instagram and was like hey man, I got this fight coming up with Floyd Mayweather who like I’m a giant boxing fan so I know I’ve watched every Floyd Mayweather fight where whether you love him or you hate him I’m like a giant fan of his and I’m like holy shit and he’s like I want you to do the art for the fight and do a piece and we’re going to drop an NFT. And I’m like oh my god like so like Nifty Gateway, I’m like we gotta get into this NFT thing and nifty gateway at the time was like starting to get like, explode and be like this huge platform where people were making a lot of money and I got an exclusive drop on that platform for three days which was going to be like historic. Beause it was like Logan Paul, Wes Henry. Collaboration for the Mayweather fight and the Mayweather fight was on February 20th, so they were giving us 18th, 19th and 20th to drop stuff and I was like I’ll make 3 pieces. I made them for Logan we’re like face timing like all the time and he’s like those are so fucking awesome, this is going to do so well and I’m like. This is gonna make history and I’m gonna make millions of dollars. Covid’s like nope, boom, the fight gets rescheduled and then it was like Ah OK, I have to cancel everything with. 


DC: Nifty, we’ll cancel anything if they have any reason to boom, like yeah. 


WH: Right, so that’s gone and I’m like, Oh my God so then I’m like alright it’s in June it’s alright it’s gonna happen. Didn’t happen again. So COVID well the fight happened, but it was still like weird. And because of all the weirdness, Logan was just like dude, I’m not going to do the drop now like. 

Like a few days before I was like, oh my god Yeah, like such like I’m like damn man that ’cause that’s such a huge opportunity. So that didn’t happen. But I’m like whatever, like on to the next one like I’m just a natural-born hustler, failure is a part of my life.


DC: You live in the entertainment industry. You know one day down the next day up.


WH: Yeah, especially anyone that has like a celebrity. It’s like you do not hold your breath, no matter what, even if it’s. 


DC: Right, yeah, they’re probably gonna disappoint you. 


WH: They’ll break contracts and call lawyers. It’s like, so it’s a crazy world. And I was like I have to like get some drops on these platforms and get this NFT thing going ’cause I think there’s something to it and I was seeing all that like the guys that got the spots that I had for those three exclusive drops right broke records. Like Mad Dog Jones I think got either February like one of those dates… 


DC: Was it February 2021? 


WH: Yes.


DC: Yes, tons of crazy drops were coming out then February, March was like the heyday. 


WH: It was insane, so on that same day Mad Dog Jones had a job and he did an open edition for like 7 minutes or something and made like $4 million, yeah. 


DC: Of like the yeah. 


WH: And I was like, Oh my God, like I would have made so much money ’cause like Logan Paul’s happens to also be like a big name in NFTS Like love him or hate him, he’s like a. 


DC: YouTube guy, And he has a crazy audience anybody will like they’ll buy his stuff right so.


WH: Anyways, none of that happened. He’s still a friend of mine, but we never ended up dropping anything, so I still have like 3 in the Chamber. That’ll be sweet. One day, maybe you’ll fight with like Mike Tyson, it didn’t or something it has like have Mayweather on it so it’s just him and it’s still like viable so who the hell knows? But anyway, I’m like I got. I need to do this so I called a couple of my buddies. I’m like you gotta help me. One of my buddies. Hero machine who runs nomad, his name is Danny. He was helping me out. And he got me a job with Known Origin.  I was like we have to figure it out. What NFTs are and within a week he was like alright I’m gonna figure it out and got me a call with the CEO of known origin. It was like, 


DC: David?


WH: Yeah, David, who’s like a really nice cool guy, talked with him and they’re like they fully supported me. I dropped six pieces. They blew me up on all their social media. It was fantastic and I was like this is great. But I dropped way too many like they had a limit and I was like can I push it and I went well over it? And it was like, yeah?


DC: Because you saw the nifty, you know? Yeah, the nifty effect. 



WH: Exactly and I just feel like apples and apples. Like no, it wasn’t the same. It went well, but it wasn’t great and I was like, on to the next one, right? That was still a success, but it wasn’t right. 


DC: You did the drop this time, Yeah like OK you got the taste. 


WH: I did a job it did well it and it was like great money and all this stuff and im like I need to do more so then Danny was like dude, why don’t you just start calling someone to like big names in the industry and I know Ali Sabit who’s like. I think the top earner on open C for an individual artist at this point


DC: He does really, really well on open C. 


WH: He’s an animal, so I reached out to him and I was like, hey man. Do you have time to talk? I would love to just pick your brain and he was like yes, saw my artwork. He’s like, dude, I’m going to take you under my wing and show you how all this shit works and I was like ah, he’s like your talent is like undeniable and I know that you’re going to be successful and I was like finally like here we go. So he’s like, here’s how you like mint and open c and taught me like all of the things that I teach other artists now and I’m bringing them up to all came from that dude’s brain and Gabe Weiss he introduced me to. There’s also like a close friend of mine who was the other person in my ear who was like giving me advice on how to do drops so I started dropping in. I think July is like early July. I think on open c and it is from the first piece I dropped. It was just a sell-out city for like 3 months. I think my account did like $2.5 million in like 3 months. It was absolutely insane and like so in August I moved to Denver from Chicago. Like I said and that day, I did a collaboration with Sabot or it was dropping that day. So we did these three skulls that he like did his thing over, and if you collect all three of them then you get this 4th gold one and there were ten of each of those who were like 30 total. Plus you can win like the ten of that, that sold out on the drive like when I’m arriving in Denver, sold out so all of his big whale collectors and he had a lot of them, were like a feeding frenzy on my stuff. So now my account is just churning. It’s like you gotta get stuff ready to drop and I’ve been doing art since the beginning of covid so I just had a stockpile of art.


DC: Like OK? 


WH: I was like I check this shit out! check this shit out! Like every and people were like this is amazing. And then I mean there was one day. The activity on my account were a bunch of whales came in and just bought a bunch of stuff. I think there were like I don’t know my it was like over 100 Eth in like 24 hours. 


DC: Jesus Christ


WH: I get 10% of all of this like holy shit, And it’s right when I arrived in Denver and Denver. I’m like I’m a very outdoorsy person, so I’m like I’m going 5 fishing, I’m going mountain biking. And I had to buy all this new shit right? And I’m like I need to get this big like SV to go up in the mountains and do sweet shit, and that’s just I’m like now I don’t have to worry about money anymore like I’m good and now I dropped all my clients. I was like Nope, I’m not saying. 


DC: Sorry guys. 


WH: Yeah, like sorry like that’s great like and I will do branding only for select clients if they were to come, and if they’re nice and there’s no stress. And it’s not like crazy, you know. If anyone stresses me…


DC: You could do it on your schedule 


WH: Yeah right, if anyone stressed me out like. Good luck, you know like hang up, that’s a luxury. That I have now, but now I get to be a full-time artist which is like my dream in life and it happened and it was all because of open C and this entire NFT thing. And it’s like, I’m every day I wake up like a child on Christmas, Christian child. I got I’m like Oh my God like this is awesome. I got to like make some cool shit and drop it and people love it and I get feedback and there are haters but like haters are you got that you? Know that you really made it yeah.


DC: People are taking time another day to talk shit


WH: Right, it should be. Yeah, but then the first that would like to bug me but Is like. Now it’s just like a block to. Leave like it’s just like yeah like leave it but it’s been holy shit been a ride and it’s still going and it’s insane and I have so much more shit coming out and I have even in the last two days. Booked more things. More collaborations. The collaborations have been like I mean I did Busta Rhymes NFT like that’s his Twitter profile picture right now. Like met him in New York and we like it. Partied all night. It was amazing like I’m a 90s kid and like I’m a hip hop head. 


DC: So hanging out with Buster is hilarious


WH: That’s right. Oh my God. It was like so that. Was like, you know, a life moment and meeting him and his son and his crew and all those people and we still keep in touch is. I’m sure I’ll Be talking to his son soon, ’cause he’s trying to get like big into the NFT world and then Snoop came along and there people wanted to meet me ’cause well Buster was doing and then I did a collaboration with Snoop Dogg and then randomly Gabe’s wife sent me like a Deepak Chopra’s charity wants to do something so I did 


DC: like OK. 


WH: Deepak Chopra’s charity that’s like I love that dude we like meditated in Miami and then, like had sushi on a rooftop, I was like this is just a dream, so it’s like things are going well. They’re still going well and I will not, I will not like so you could ride that wave until it kind of fades. It’s just not how I operate, so like any collectors or you know fans of my work. I’m honest that this is still just the beginning and I’m just keeping momentum and keeping exposure going to get bigger and bigger and I will not stop until I’m dead like I’m not gonna let the wave go away for the rest of my life. 


DC: That’s beautiful and I’m so happy for you man. I’m so happy this all worked out. And I mean you’re doing your work is amazing. You know that and like you’ve been doing it for so long, and I feel like you know, we’ve talked about this with a few of the artists that we’ve you know, talked to today. You know, people like Frankie Nines and you know a lot of people come from, you know, creative industry background, you know, like corporate, either the creative director or like a game designer or something like this. Somebody who’s like really grinded through the process done everything for like 5-10 years and then they have the, you know, the wherewithal to like just do it on their own because they’ve done everything and I feel like you’ve definitely done all of that. 


WH: That is an important point because I think a lot of people were like, oh, I’ve been an artist or been creative there. You wouldn’t believe how many artists people I talked to and they’re like. I just don’t.  I’m not into the whole selling thing and I’m like, well, they should pick a side, do you wanna feed yourself with the art? 


DC: You’re a professional artist. I mean you sell your work. 


WH: Yeah, like look, you have to. It’s not a sacrilege to talk about selling things and making money. Like do you want to be a starving artist or would you like to live well and do this time? 


DC: And the fact that we can even ask ourselves that question and that NFTS can facilitate allowing ourselves. It’s huge, yeah. 


WH: It’s insane like if you and then with your collectors, like if you don’t think about business, you’re neglecting everyone that buys a piece.Not that everyone is just trying to flip, but it’s like keep they spent hard-earned money to buy your stuff like don’t let it all just fall away and run away. 


DC: That’s a really important point actually. ’cause like some of the conversations we’ve had today. You know, we love considering the collectors like, especially with artists ’cause there’s a big difference between you know, like marketing, uh, PFP project. Just like the brand, that’s branding. You know, that’s just like brand awareness versus marketing. You know, one of one art or limited edition art. 

It’s really way more about actually having that connection to the people who buy it, or at least. Perpetuating your narrative enough so that they can get that from your social media. 

From your profile, from the people you work with and why and how you work with them. 

So yeah, I mean like obviously collaboration has been a big way that you kind of got into some of those collective networks. But do you have any? I don’t, I don’t know, maybe tips is the wrong word, but you have any. You know things that you do that you would say that you want to see more of in the space in terms of you know people taking care of their collectors and. Like you said, like treating it like a business long term. 



WH: Well, I guess my overall advice would be before they get to the collectors, ’cause there’s a lot of young artists that they don’t have collectors yet, so that’s like a next-level problem, which is a lovely problem to have, but the first level is. I mean and I use this example. I’ve used this before. 

I got a question from a guy one time that said, you know, I really want to make it in this NFT art industry. 

Do you have any tips for me and like how do I do it? And I was like, let me see your work. 

He said I haven’t made anything yet. 


DC: So like ciao like. You already shot yourself in the foot. Before you could even begin. 


WH: I’m like what the fuck Are we talking about? Like how am i supposed to? 


DC: Hypothetical-like concept like. 



WH: How do you sell this product and you? And you don’t even have a product?


 Doesn’t exist!


WH: it was like it blew my mind but. 



DC: That’s like that happens a lot, yeah? 



WH: All the time and you gotta like. That’s the other thing I realized is. Like in this NFT world. 

It’s such the Wild West. You got like I’ve been in the game. For a long time. And ive been at high level. 

pressure situations producing dealing with millions. 



DC: So that when Snoop Dogg hits you up and says hey, can you make this? And you have a week or. Something you could do it, yeah. 


WH: I can close it. I can take it to the finish line and it will and it will look well and I will make sure



DC: You’re confident that you have that ability so you can…



WH: Yeah it will not be a flop like I won’t flop. Anything, yeah, but there’s these. Like some of these kids are just like this,I just Woke up like I don’t know what. The hell like they. Don’t know anything about anything like maybe have. Barely held a job down there. You have no idea where someone’s background is. So like one thing is the hype train in this industry can be really, I think, toxic were part of what people get off on is just talking about what they’re going to do or what this is going to. 


DC: Gonna do doesn’t help anybody. Like what are you doing?



WH: Like what did you do right, yeah? How did you get here? So there’s so much that where I just discouraged like talking, in general, like show what you did, not tell what you’re going to do. 

But a lot of those artists is like, focus on the work like that and I know in the. 


DC: And they focus a lot on. I feel like you know there are all these words like a utility. Oh, we want to add up a metaverse component. We wanna add a play turn game, it’s like, well what’s the actual product? 

To begin with, is it art? Is it like what is it? 



WH: That’s and that’s the thing with PFPs, though it gets a little messy because like I’m about to drop a project with Jonathan Little, the poker player who I learned the other days written like. 

15 Best selling poker books I was like. 



DC: like OK? 


WH: So I just finished the art like 3 days ago, but that project truly likes a lot of these PFPs. 

It’s pure utility. I mean, we’re going to do it’s going. To blow everyone’s minds. 


DC: Because it’s a utility token, though it makes sense it’s what it is 



WH: The art is almost irrelevant. Yeah, but I also made it look super dope because so it’s like a custom deck of cards that you’ll like get with it and It’s gonna be insane. 


DC: Yeah, it’s utilitarian, it’s a deck of cards exactly, so it’s like. 



WH: And and we may or may not ’cause legally there are all kinds of red tape on the on. 


DC: The record right? 



WH: That like. Before tournaments, he may or may not can’t promise shit is going to like on camera. On Twitter. Pull a card out and be like, oh, look at that. That’s a eight of clubs. 

If you have this card I’m going to give you 10% of what I want in this tournament if I win. 

So now you’re sweating along with him like. Oh my God, I just want $5,000,000 now you’re getting cut of that down and. So there’s going. To be there’s game. 


DC: A gamified kind of unlockable. 



WH: Right, and that’s like 1 aspect. Then it’ll be like you know, we’ll just be like you got 3 Queens you know, and then you’re eligible to this. Then I’m gonna pull two cards and like if you got these two to bring the numbers down ’cause it’ll be, you know there’s 52 cards in the deck and I’m going to. 

We’re in the two jokers which will act when there’s not multiple card combinations you can use those as fillers, you know, as a wild.and then I’ll be like if you have these two cards. You get a free NFT from me. 

because they’re not. 


DC: Thats dope 


WH: As long as the number of people is like under 10. So essentially when we first mint, if you get one of every card, then you win every week in a weekly you win something for a year. 


DC: Yeah, thats sick. 


WH: And so the we’re going to give back like 65-70% of what we make back onto people. 

So like it’s going to be so much utility, it’s going to blow people’s minds and we’re hoping that we’re not going to take a big cut because we’re both already established. 


DC: That’s super cool. 



DC: Its for your people


WH: its for our fans 


DC: Right, it’s and for doing something like. You know important and cool


WH: Right? Yeah, and so I think it’s going to be a massive hit. 


DC: Thats exciting


WH: And there’s 50 of each. They’ll be 2700 pieces total, so we’re announcing it next week and. 

We like the websites almost done. And then we’ll be like, alright, you’ll be like you know one of those like random hints where you don’t know what it’s going to be. 


DC: Right. 


WH: And then there’ll be like an unveiled day. And then it’ll all go. To secondary and open c it’ll all be running the ethereum block chain



DC: And just for reference, telling when you’re when you’re watching this. This is the 18th off February, so yeah. You know, if if we’re we’re seeing this. 


WH: It’s already going and yeah, I mean so anyways, that’s one of the things that’s in the works, but I guess my example long winded was that is pure utility, right? The artist less. 


DC: But that’s that’s very intentional,


WH: Right exactly so its..


DC: And like you know, like like I don’t know, there’s like Mega key and all these things like those are utility tokens like. It’s a type of specific, but like it’s an art piece. You know utility is great and adding air drops and you know add it like added value are great, but you know, I think like we’re on. The same page, you know a lot of people focus on 



WH: And If I was a betting man, I would say. The PFP will be old and dusty sometime. 

I think it’s going to happen this year and. It’s not that it’s a stupid model, it’s that the NFT industry is like. 

Time compressed, so anything that like feels older gets old in the real world. It happens in the hyper sequence and so I think there’s no way this can sustain ’cause the amount of garbage that is out there. 

That’s like collect this table NFT like. 


DC: And we’ll send you a table. 


WH: Any Table color you want! It’s just like we’re making a community. Which is just a fucking discord channel. 


DC: Out of people who love table yeah. 


WH: Yeah, like table, join the table and like you. 


DC: Table gang. 


WH: Can take it into the metaverse and you can carry around the table. 


DC: It’s and pc game or iPhone app 


WH: Jump. On the table. jump off whenever you want. So like I think. A lot of that stuff is going to. 

Go to bed. And like all the big projects will remain like bored APE yacht club is not fucking  going anywhere like a lot of those will sustain, but I think I think the focus is going to go back on create creativity like true good creativity like when like art. Photography like hot like almost like not highbrow, but well done things that you can tell you just when. 


DC: The lens of fine art has expanded ’cause now we have. All these different generative you know exactly. 


WH: Generating animation like all these. 



DC: They are VR so. 


WH: Amazing everything yeah and and and I think. Part of this, I think, the impetus for a lot of this is when physical pieces in the home become like right now to get like a super dope framed thing. 

That’s like adaptive to  the pro of whatever it is you’re putting in. It is very expensive and it’s like you know you gotta wire it up and all this. So like someone’s gonna make a lot of progress on that. ’cause every single person in the industry would like to have this. 


DC: Right? 


WH: And it’s going to happen eventually. Then there’s little are ones that like infinite particles, or like infinite objects, like somewhat like there’s little ones that, like you can put on dust and stuff, but…


DC: Infinite objects, yeah. 


WH: Once It becomes a more, you know. Thing that you can put in your house and it’s like a piece of fine art and there’s like certificate about the fication QR code situation that links to the blockchain. Like look I own this shit I think it’s gonna sink into like the average people and even the people in industry and you’re gonna you’re not gonna want some stupidass like cartoon thing that you like maybe board of Yacht Club exception there’s some exceptions but for the most part like that’s not the art you want on your wall. What are you like a little kid or something like that? It doesn’t make sense. 


DC: Maybe in your kids bedroom. 


WH: Right, sure, but. It’s like you’re gonna want. Maybe there’s like 3 on a cycle that. 

Lasts for a few hours over the day. 


DC: Exactly, and the fact that you can even do that Is already a huge elevation, right?


WH: And I think it’s going to go back to that like true like fine art. And that’s what I do. 

I’m a digital fine artist and I think a lot of that and I’m finding it is slightly rare, like there’s not that many people that do that in 3D is like a whole other game and I haven’t gotten into animation or 3D at all, which, I probably will this year, but like like painting literally. Also, I do like charcoal works. I do like Zen style works on my avid meditators, so I’ll do like you know, koi fish or whatnot like and it’ll be like black ink on like it’ll emulate like Sumi E paintings type of thing that are very elegant, yeah, but. 


DC: But you do it in procreate.


WH: It’s all done like sitting on my couch with an iPad, yeah at like midnight, right? 

So it’s like it’s it’s a lovely luxury, but even assuming you think that’s the beauty of digital is I can replicate. I mean, if I told you that it was real, you would believe me, right like? but that perfect stroke, most people do. 


DC: I honestly thought some of your work was, you know. And and and yeah. 


WH: Most people do, but that one perfect stroke in, like the Zen world like I am cheating because in the Zen world that’s part of it is like your yes your mind is clear and you’re like in the moment. And that’s the perfect. Circle like for an answer, but it’s like me. I’m like bitch I get 2000 trys like. 


DC: You’re like undo. 


WH: Nope, Nope, like. Sure, yeah, the the beauty of that is I can get it to be visually like transcendent where you’re like, this gorgeous and like. And that’s the other thing is my style is all over the place, but i’m evolving everyday ’cause I practice. I learn like I, I’m a beginner mind mentality. Until I die again so it’s like I’m always learning. I’ll never be the expert of anything but i’m going to put in alot of hours and I’m I mean. Ultimately that’s my goal is I would like to be the best digital artist in the world like what that means in actuality. I don’t know, but getting there is the best part like that’s the dream that I’m already in. 


DC: It’s if you’re gonna set a goal. I mean, why not? 


WH: Why not? Like i exude confidence? And that’s because I learned early on. 


DC: Because you are confident in your work creative confidence is something that like you can’t really even teach. That has to be developed, yes. 



WH: And a lot of artists are not and also, I learned early on no one else knows what they’re doing, either like it was like a Ricky Gervais quote or something. It’s like when you, when you let that sink in, I mean, as a philosophy major, it was like very Socratic method of. 


DC: Where you’re like? OK, sure, but that’s one opinion. 


WH: Right? Like with the line of questioning you can find out like even the smartest person. 

You’ve ever met, like at the base doesn’t know anything. 


DC: Doesnt know anything, yeah? 


WH: Like what they’re talking about. Sort of like disappears, yeah, so like don’t take anything too fucking seriously and be confident. Like bet on yourself if you’re not betting on yourself who the fuck  is gonna bet on you when you truly know no one knows anything and ultimately, at the bottom of whatever stance they’re taking on any subject is based on, like assumption. 


DC: Their lived experience yeah, yeah. 


WH: There’s right, even like physics based on like axioms of like that’s just the way 

the world works like it’s like, wait. Right? A minute what? Like when you really understand that, like. OK, so you’re kind of in charge of your own story so bet on yourself. Go all in


DC: Do your thing.



WH: Do your thing be the best at it. Like I there’s a lot of things I could do, but I know you know you ask yourself like why should someone like anyone that wants to start their own business. ’cause I think quit your fucking nine to five. Become an entrepreneur. In some sense, it doesn’t mean like. 

Be a lazy piece of shit cause I think that that’s what happens a lot of times. Like I’m an entrepreneur like no, you’re not doing anything he’s like. 


DC: You just go on a laptop, right? 


WH: Like getting out of that world, you really it opens your eyes to all these other people that are hustling that are not in the 9 to 5. 


DC: And doing really, yeah. 


WH: And doing very well because and the first question that I like ask people. If they aspire to do that is like why should I pay you $1.00? Why would I pay you $1.00 to do or say or perform or whatever it is something and start there like why should one person give you one fucking dollar? 


DC: Or even agree to let you work with them. I don’t know when you’re when you’re brand new like yeah.


WH: But if you can get there and say like you know what? I have a skill or something I can do where I think someone could easily give me a dollar? Well, now I bet you can find 2 people to give you a dollar and so on and so forth. 


DC: Right go from there. 


WH: Now you’re making a business


DC: And if you’re six years old $2.00. I mean, that’s pretty dope. 


WH: a piece of candy for em’.


DC: One more thing I wanted to ask you about. I really appreciate all these answers today. 

Just one more tie in from like  your old work in the creative industry to what you’re doing now. 

I think one thing you were talking about when you were talking about the poker project, which I saw you getting excited about, which is really interesting is about, you know, doing some of this, you know creative strategy and you know creating the body of the project and how are we going to roll this out? 

There is a level of you know still marketing and business and all these things to it. 


WH: 100%. 


DC: And that’s a lot of what I do as well. But you know, I can see that you love that process and that’s part of your creative process as well. How do you? How do you work that into your day? And what do you think about that? 


WH: So that’s another great point that I think this same kind of you know, the level of polish that you need to like close and work big deals and work with you know, partnerships with fancy people and fancy meetings and confidences. Understanding of business 101 like business one. 101 I said 



DC: Were used to 101’s



WH: Yeah marketing as well like that. OK,  it’s all OK. They got your supply and demand. 

OK, so you need your demand to be a little higher than your supply and then you want both those things to continue to grow. That’s how you grow a business now how do I get the word out? I got all 

this stockpile of shit whether you’re like an inventory based product thing or services where I need to tell other people what I’m doing. That’s what marketing is like you like. Everyone should just. If you don’t know something there. Even in the NFT industry like come up with acronyms like every fucking day, we’re like no one knows what it is, but no one is going to ask and then slowly you learn it and now you incorporate it into every sentence.


DC: Right 


WH :so it’s like just. Like learn learning is so important, just start at the base base level of whatever it is like. What is simple business strategy? What is simple marketing strategy? 

And when you learn those things, you can build up and I have been in the game for a long time with these big clients and you and even there wouldn’t start at like a basis. It was always like. 


DC: Right? 


WH: High level crazy shit but when you like, boil that down. That’s where you get the fundamental understandings to build like solid brick after brick. To build a really nice foundation and get higher up, but anyone that you know, wants to learn about that. I think with marketing is, start small like, 

test your products with an individual. If you’re an artist and you got like everyday. I test my girlfriend sitting next to me. On the couch and I’m. Like you know, kind of. 


DC: What do you do this


WH: She’s awake like ’cause. I usually finish it that night and then I put finishing touches in the morning ’cause I like to give myself a good rest to come back and look at it fresh because it’s your baby. You’re too close to it. You can’t tell if it’s good or not. 


DC: Right? 


WH: But in 2 weeks, you’ll know. 


DC: Oh yeah. 


WH: But if you’re about to drop it, you need another opinion, so I’ll just be like are you ready? And I’ll flip around my iPad and she’ll be like. Oh okay that cool, that’s when I’m like fuck I… 

Didn’t get, you know like..


DC: You know it’s not good. 


WH: But then there’s there was one time I’m getting off track, but I this is my one of my favorite parts about creating art is I did as zen scape, which I put on makers place and it was like a circle and there was kind of like this world and this bond side that’s inside of it that I will do more and put them on open c. But I flipped this around and I was like. OK, ready we’re like, I don’t know  what time of the day it was, but it was like night time whenever and  I flip it around and she goes…And she started crying. 


DC: Just like right off the bat?


WH: And she’s not. Like, uh, cry or she’s not like. You know crying everything shit And I was like, oh. She’s like I don’t know why it just like. That like just touched me and I was like holy shit!


DC: like I did it. 


WH: Yeah,im on the iPad. And I could spin it around and make this thoughtful, intelligent, beautiful woman weep. Tears coming out of her face, it was like one of the greatest moments of my life. 

That has nothing to do with marketing, but like…


DC: Shows how you’re finding the balance


WH: like this is going to hit like there’s my product testing or my user testing of like. 


DC: It’s it’s it’s, you know we’re making stuff for humans. It sounds it’s at the very simplest aspect of it, right? 


WH: And it’s like. 


DC: People have to be able to relate to it. 


WH: And if one person is like super excited about it, that’s a great sign. If everyone is pretty lukewarm. That’s cool, but if you get a couple spikes where someone like that, I don’t know what it is, but I love that so much and that’s the tripiest thing about art too is I’ll make like a fish and someone like I don’t even like fish, but that’s the coolest Fish I’ve ever seen in my life. I’m like I know like and I want to be like a lot of times I make something and I’m I’m like a driver and a passenger when I’m creating like being in the flow state is my favorite. Yeah, peak of like life existence is being in that moment where like thoughts are gone. I’m just in this like Creative mode and I’m going just off of instinctive. I should take a left, take a right login like choosing colors and whatnot, and then when I get done, I’m like, you know, I’m like it’s like a time warp. I’m like Jesus, the sun’s coming like. 


DC: Where are we? 


WH: I gotta go to bed and I’m like I look at it and I’m like holy shit and there’s honestly times where I’m like I’m so excited about what’s here I’m like and I understand why I’m not a religious person anyway but people that are religious about stuff like this because I get it where you’re like something. 

Just came through me like I didn’t. 


DC: Like i cant justify…


WH: Here yeah, and it’s like and it’s I think like athletes have that same thing where they’re like the best like swim performance of their life or theyre like Michael Phelps. They like broke record. 

Sometimes they can’t remember it like the details of it because they were so in the moment. 

That it was like instinctual. Because if you’re like thinking too much in your head, too much that like you know, as soon as you would think about being in the flow state, you jump out. And you’re not. In the flow state anymore, like but being in that state and being that passenger driver relationship is like the most fun thing and I don’t know where I was going. That other than. If that is the same for you, or you’re wondering what I’m talking about as an artist like. Just do more, practice more every single day you should be working towards this. I mean that I meet people in life and they’re like Oh my job sucks. 

My life sucks and I don’t know what to do. I’m like, OK, well, let’s work on step one and they have no clue what step one is to to make a change in their life, but they’ve been bitching about it for a decade.


DC: A year 


WH: I’m like what the fuck? But then you are just OK and like that’s a cathartic experience to bitch about and be like doing my job. Sucking like this sucks and home life sucks. It’s like you are scared to honestly change. 



DC: Like who created that? 


WH: Like just put yourself in this boat and now, but that I think the vast majority of people that’s part of it as well. And I think I heard something on this movie called Waking Life. That’s super trippy which was like rotoscope that I watched in college and I was like too into psychedelics and all that shit is in there he said like the most two… So there’s all these different like scenes and philosophers, and different artists paints over the cells of each one, and one of the scenes. This guy said the two most universal human characteristics are fear and laziness. And that’s stuck with me because it’s very cynical, right? It’s like you want to give the, but it’s like that is so fucking true and I see it in all walks of life and every I try to go away from that. Because if you just fall into ruts and that’s what happens. That’s why it’s the most universal, because when you’re scared of. Growing or scared of doing a new thing? That’s when  you’re not going to make changes and then it’s very easy to just be like fuck it. 


DC: With the pandemic yeah


WH: Especially nowadays it was like I got like within streaming services, so they’re updating like weekly like there’s unlimited entertainment that some of it is very high quality. And now metaverse and like. Wait till like Apple comes out with VR AR shit It’s over like going outside like, it’s going to start going away, so it’s like. You know, get out there, get. I don’t know get the fucking blood moving. That’s another side note is like a thing that I learned that is not talked about enough ’cause I know with COVID. 

A lot of people like were hurt like mental health wise with like anxiety and depression things is that again to repeat fitness is more effective daily fitness regimen, whatever it is getting your heart going for like 30 minutes and I’m not a doctor. OK disclaimer, but ask any doctor this. It’s more effective than antidepressants and anti anxiety medicines. But because of fear and laziness, entire country of America. 

I mean, this is the world. It’s not just America. I think most people are like nah give me the pill and 

It’s like. Yo get outside like it if you have cardiovascular fitness. Do you like? Bring down your susceptible illnesses. Disease body like 5 acts. I think it is that you can like live longer and survive whatever ailment might come your way. Your probability of having problems and. You cannot have positive mental health without physical health, and I talk about that a lot and it comes out of left field. But ultimately, the point I’m just trying to make is I know there’s and I hear this in like Twitter spaces, clubhouse, whatever I mean with COVID and and even the NFT space like it brings together communities online and like there’s IRL. Like super used for like actual life like that’s hilarious, but it’s also. I think a lot of people are suffering. 

Whether they’re saying it or not, and the alienation that COVID brought where you can’t leave your house. And now like it’s slowly, some people are wary like wait. How do I like interact again? And even with there’s a lot of computer phone focus things that we’ve been doing for three years and I just gotta reiterate like you cannot have sound mental health without some level of physical health. Those things completely go together and I think physical health is is at the base of that. So not some like yeah, get out there and lift weights like trying to be douchy in that way. But just like please don’t neglect yourself. 

Anybody out there that’s hurting or have depression, anxiety or feeling you know, down for whatever reason like. Put your phone down, put the NFTs down for a second go, get some exercise, take a fucking walk. Take a hike. Whatever and then. see what happens. See how your problems change after that. 


DC: Awesome, I mean like, you know, if you’re watching this, you should send this to anybody who’s like trying to get in as an artist ’cause we got some amazing advice here how to start out, 

Wes’s story, and yeah, I think that’s a great note to end this on. I think everybody watching this, you know, take a breath, open a window, go outside for a second, yeah. And if you happen to live in denver it’s super sunny in the winter, you’re set.. 


WH: Hell yeah.


I love it well I so appreciate you taking the time to join us today. Yeah, this has been awesome. 

It’s great to be in your hometown for a bit hanging out. And yeah again, thank you so much for doing this. 


WH: Thanks, David, thank you. 


DC: It’s a pleasure, pleasure and thank you also to everybody for watching. Once again, this is NFTS.WTF hanging out with one of my favorite NFT artists Wes Henry and we will see you all in the next episode. Thanks so much for watching. 

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cryptAngeles community gathering at Hangar 8 hosted by Kyle Schember and B Creative 

[photo: skidrowcrypto]


There’s a web3 social movement happening in Los Angeles, and if you haven’t observed — it’s not just about connecting your wallet; it’s about connecting people in search of belonging.


Among the many crypto communities forming across the globe, Los Angeles is best suited to become the most innovative, inspiring, and engaging of them all. This is because LA is arguably the most famous city in America that consistently attracts and retains the world’s top talent. With an abundance of sun, scenery, and nightlife, Los Angeles welcomes cultures, languages, and traditions from all over the world. Southern California is also home to some of the safest cities, and although California’s population is rising, its unemployment rate is falling. All of the state’s wealthiest communities are found in coastal areas where career opportunities abound, and almost half of the state’s billionaires come from tech.



Community development is essential to establish the foundation a city builds upon to improve the lives of those who show up, participate, and contribute. Community builders are working hard every day to introduce Angelenos to blockchain technology; its premise of sovereignty and empowerment, the potential to solve real-world problems, and the hope for equity and inclusion within its trustless code. Among the many influencers at the forefront of blockchain conversation both online and off, a growing number of web3 projects — onboarding initiatives, co-working, and co-living spaces, and social clubs, have been formed and founded for the purpose of uniting like minds to further indoctrinate, educate, and collaborate.


New Friendship Tech [photo: Preston Thalindroma]


According to Ben Spievak, co-founder of NEOREN.io, “Community is an organized group of people whose combined efforts build or achieve something great.” NEOREN (Neo-Renaissance) emphasizes health and wellness among its core values, which include higher consciousness and spirituality. “People in a community should genuinely care about each other as individuals to become friends, spend more time together, and help one another grow,” Spievak said. NEOREN carefully curates its members to assist artists and innovators by hosting exhibits and events that appeal to an audience of qualified collectors and investors. By hosting sober events in high-value locations like Beverly Hills and Malibu, NEOREN achieves a level of social sophistication that offers a much-needed alternative to the countless deejay-driven warehouse parties the crypto community is all-too-familiar with.


The biggest misunderstanding is what it takes to invest in a community; establish trust, and earn the trust of the people. The crypto community has experienced plenty of cash-grab projects and events by producers who would rather extract from the community than sustain its growth. Discerning the difference is remarkably intuitive; you can literally feel the disingenuous tone in the way such events are marketed; if the community feels adequately represented from the bottom up, and whether or not the cost of participation alienates the very people these events are supposed to benefit.


Eric ‘Motivate’ Spivak at New Friendship Tech [photo: Preston Thalindroma]


Relationships and rapport are everything,” says Eric ‘Motivate’ Spivak, co-founder of NFTs.tips. For more than a decade, Motivate has sharpened his instincts and honed his ability to allure Angelenos from the comfort of their homes, into their cars, and through daunting traffic to venues and stages across Southern California and beyond. Since 2010, his agency has produced over 500 events featuring thousands of performers in fashion, arts and music. Most recently, Motivate organized New Friendship Tech, a 3-day community alternative to NFT LA to welcome those who felt marginalized by happenings at the LA Convention Center. “I’ve always found myself dedicated to breaking down walls and shattering glass ceilings,” he said. Through participating sponsors like Harmony One, Giant Connect, ISA Group, Proof of Good DAO, and Nifter, Motivate eliminates economic barriers to entry and participation by making unique and original programming freely accessible for those who simply RSVP. Sponsorships make a big difference by adding value and reducing organizational costs; Urconduit leverages its ties to venues and its familiarity among vendors to form alliances that become the essential ingredients to facilitate successful events. “The opportunity to show people the way, or to expand their understanding and perspective, has always been extremely appealing to me,” Motivate said.


Gifdead [photo: skidrowcrypto]


When it comes to community building, Nifty Castle leads by example. Founded by multidisciplinary artists Gifdead and Woahboy, Nifty Castle is first and foremost a community of artists supporting each other. Having supported 1-of-1 artists like Henric Aryee over a year ago, to launching generative art collections like Deebies, and most recently the gender inclusive WitchyGF, the Nifty Castle community has exemplified consistent persistence and tireless tenacity. Gifdead and Woahboy never shy away from hard work; they rolled up their sleeves and got their hands dirty to build a durable and lasting community they’re both proud of. “Even though community is, by nature, a collective, it’s about establishing one-to-one relationships, and then scaling that, which doesn’t happen quickly,” Gifdead emphasized. In fact, it took 5 months for Deebies to sellout, and to the community’s benefit, the diligence required to convert passive observers into avid supporters one collector at a time built a zealous community and ecosystem that continues to grow and thrive. “Throwing good events is a lot of work,” he said. “It’s a grind, and it’s really taxing—especially when you have a small team like ours,” he added. Like Urconduit, Nifty Castle has been active and present in producing community-driven events parallel to major blockchain conferences in several cities. In addition to Gabe-A-Palooza in Los Angeles, Nifty Castle has hosted events around Art Basil Miami Beach, NFT NYC, and ETH Denver. “We’re out here doing this so the community has some cool spots where they can go hang out, meet each other, and create meaningful, memorable experiences,” Gifdead said.


Andreas Knüttel [photo: skidrowcrypto]


Vanity metrics will never supplant real community. There is strength in numbers, yet numbers often lie — ask anyone who develops and applies statistical and mathematical theories. Social ‘influence’ is often overemphasized when those who attempt to leverage it lack the contextual understanding of its portability to be effectively transferred. However, data can be analyzed and utilized to optimize communities, and organizers like Andreas Knüttel are utilizing its inherent value to inform groups and distribute shared resources. Known in cryptAngeles as a community overseer, Knüttel embodies Visa’s retired slogan, “…everywhere you want to be.” This is a fitting reference because, over the past 10 years, Knüttel has lived in Switzerland, California’s Sonoma Valley, Hawaii, and now cryptAngeles. His first blockchain experience was in 2016 when he earned $150 for posting to the social media/blogging platform Steemit. With more than a decade of experience managing data for social events, Knüttel is now uniquely positioned to direct local and international artists, collectors, web3 entrepreneurs, and investors with golden opportunities to dialogue among like minds.


Gabriel Paxton, CEO of NEOREN and Col. (Ret) Arnold V. Strong [photo credit: skidrowcrypto]


“People who view a growing community as a numbers game are making a mistake. It’s easy to run lead generation ads and grow the number of members in your Discord, but that’s useless. Community growth should happen naturally because the members truly love the experience they’re having and want to share it with their friends,” Ben Spievak said.


Both virtual and IRL communities require the same growth strategies to make them sustainable. “Like IRL events, virtual communities shouldn’t be perceived as a one-way marketing channel; it’s a space for community conversation. It’s a feedback loop and a symbiotic relationship,” says Gifdead. “To build the most valuable community, you’re not going to be relegated to online or IRL; you reach across as many different channels and venues as possible.”


Randy Levy, Gifdead and Kyle Schember [photo: skidrowcrypto]


“Online communities are very transactional — whereas real-world communities are more about the emotional and spiritual benefits,” Ben Spievak noted. “At NEOREN, we’re bridging the two by creating a token gated online community with real-world events and social gatherings, because, in web3, everyone can be friends. People get stuck in the idea that money is the goal. Happiness is the real goal,” he emphasized.


Welcome to cryptAngeles, where a web3 Neo-Renaissance is changing the way communities gather, interact and prosper. There’s a wealth of knowledge and an abundance of human capital to welcome your talents and embrace your ambition IRL.

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David Cash: Hello, everybody. Welcome back to NFTS.WTF, my name’s David Cash, your editor-in-chief, and we’re here live at NFC Lisbon. It’s been a great week and now we’re wrapping up our time here. But before we ended, we had to chat with Colleen Cash, potentially a long-lost relative of mine, who knows? But definitely one of the people leading things at Artnet and doing some amazing things in the NFT space and the traditional art space, helping bridge that gap. Thanks so much for taking the time here. Do you want to give people just a little bit of an idea of your background and why you’re at this NFC conference right now?

Colleen Cash: Thank you, David. So I come from the traditional brick-and-mortar auction space. I used to work at Christie’s. I joined Artnet in 2018 specifically to enter the online game, having no real idea that we would be in this universe, metaverse, whatever. So we do about $30 million a year in traditional fine art across prints, multiples, photographs and contemporary art. And we launched our fully on-chain crypto native NFT marketplace in December 2021.


DC: Ah, Congrats!


CC: Thank you. One is sort of looking at super OG historical NFTs, one with a deep dive into rare Pepes. It’s been an amazing experience. We are really just trying. I mean, everyone says we’re a bridge, but we really are. And our debt is in a unique position to provide context, whether it’s data or news or even just the opportunity to transact for those that otherwise might not be engaging with space.


DC: 100% There are so many things I want to dive into, but I think one thing that’s worth mentioning is, you know, our audience, is very crypto savvy, a lot of collectors. And when you look at the recent history of art Artnet and sites such as Artnet were really the secondary market for a long time, at least the online secondary market pretty much entirely for the last couple of decades and now in NFT space. I think this is something that’s already quite native to Artnet and your team. But how is that transition been and what was the moment that you collectively made that jump into, “Okay, we should actually start tokenizing this digital art.”


CC: Absolutely. So our Artnet is a 33-year-old company founded in 1989 with the Artnet price database. That’s sort of the core Premier product and it was a tough goal back then to convince people that we wanted transparency in the market. We wanted to know what things were trading for. So in a lot of ways, the blockchain, the main net, and the transparency spoke very much to our DNA. And we said it makes a lot of sense that we would be engaging in this both from a context perspective and from a data perspective. So now we’re putting NFTs on the price database. Creators, I think, have really found that meaningful because all of a sudden their auction records are alongside Picassos and Warhols and all of the greatest traditional artists. So what we’ve done is we’re being bold in expanding sort of the canon of art history to include NFT artists and creators. And likewise, as someone who works in the secondary market, I usually work with dead artists. So all of a sudden to be able to work with creators and realize their process, their project, sort of the creator as a market maker. Now, where before you had external people controlling the spigot of their market.


DC: It’s no longer an AMM, it’s like a manual market maker. I don’t know.


CC: Exactly.


DC: Amazing. I’m really excited to see how you continue to progress in this space, especially through Artnet. And also I feel like there’s a two-prong kind of approach. And correct me if I’m wrong, but I’d love to hear your thoughts on this. There are onboarding artists into the NFT space. In your case, I’m sure many of them are already at least digitally conscious, if not digitally native. But then at the same time, what I’m really excited about, that you mentioned, is bringing the NFT crowd into the traditional art collector market and the fact that you’re championing Rare Pepes and OG NFT artists right off the bat. I think it’s super cool. So I’d love to hear how you pitched that to Artnet and what their first thoughts were when you were like, Rare Pepes, let’s go.


CC: It’s so funny. My first strategy with NFTs was to wait, right? January 2021. In spring 2021, everyone was getting involved–


DC: And really rushed.


CC: Rushed and not authentic. So I said until we can have an Onchain platform that’s in ETH that speaks to the community, I don’t want to do it because it wasn’t real.


DC: Thank you.


CC: Thank you for embracing us. Because we were honest and we went to the market to some real thought leaders and Mavericks, and we said, we know nothing in a very honest way. And we said, teach us, what should we do? What advice can you give? What would you like? What would be meaningful? Because we realize our position as a curated platform is in some ways understandably antithetical to DeFi, right? Why do we exist? We have fee structures. We’re gatekeepers. Yes. But we’re also context providers. And that’s what’s so interesting. So when we’re working with artists who are getting into the NFC space, or likewise people in the crypto world, coming into the traditional space, we have to remember this is a period of transformative wealth, unlike anything we’ve ever seen before. Crypto billionaires have homes, too. They have big walls to fill in. And sure, put up an NFT on one wall. But why not engage in another way?


DC: You might want to Damian Hearst or a Worhall or something.


CC: Yeah, right. So for our Rare Pepes sale, we did something interesting where we had a brand new fake rare made exclusively for the sale. And we actually sold the original canvas as well. So we’re putting the two together and say, look at the conversation they have one begets the other.


CC: You said gatekeeper. But honestly, I don’t think it’s quite there for Artnet, at least, because I think that Artnet was also one of those places where, as you said, the secondary market artists could upload their own work. Is it a featured collection? Is it one of your curated drops? Not necessarily, but the egalitarian aspect that people can enter on their own. I feel like it’s already very native and true to this space.


CC: Absolutely. And to art that, I mean, really, our founders’ vision was to democratize the art world. He saw the high barriers to entry at Christie’s and Sotheby’s.


DC: I mean, I mentioned it a lot, but the fact that we use Botalaire 1800s reference points in our commerce today.


CC: Exactly, we’ve been disrupting, and everyone’s a disruptor, especially in the crypto world. But truly, in a previous time, you can only buy a print or a multiple, two times a year at a big house. We have them 24/7. So we’ve always been engaged in this idea of creating access, creating liquidity, and creating opportunity for artists, creators, collectors, and the trade alike.


DC: Super exciting. So what’s next, from your perspective? Are you really trying to push artists forward? Are you trying to bring more people onto the platform? Are you developing a new collector base? What’s kind of your like, I don’t want to say KPI, because we’re not going to be so corporate here. But what’s your vision right now as far as your goal in the space?


CC: Absolutely. It’s a good question. I am being open to the space, right. I’m really trying to engage in an open conversation. So I don’t know what our next sale will be, but I can tell you that conversion is really important to us. We want to help people get into the water. The water is fine. You just have to get comfortable with these operational ideas. Things like fiat onramps help and custodial wallets help. But really, we want to leverage the power of Artnet and sort of the gulf stream of eyeballs and context we have to help people jump into the pool because the water is pretty fun.


DC: That’s beautiful. The last thing I want to leave with, we talk a lot about contextualization. We talk about adding value to artists in the process. But I feel like really the value is coming for the collector. If you can take a process that’s really antiquated and very difficult and simplify that for somebody, build it and they will come. And I feel like that’s really what’s happening. So I love the fact that you’re stepping back and listening as your first response to the space, but even more so, I really love that. Now once you’ve already had a couple of successful collections, you’re still open and you’re still looking and you’re still looking forward because a lot of people, especially now they’ve gotten into the NFT space and they’re kind of like, okay, we did NFTs and now we have NFTs exactly. But the spaces. I talk about hypermodernity and the fact that we’re evolving so rapidly and everything changes every day. So I’m really excited to hear that that’s your perspective and I can’t wait to see what you keep doing.


CC: Constant evolution. That’s the name of the game. Look at how far the industry has come in 16 months. Who knows what the next 16 months will bring but excited to be in it together with you, David.


DC: Amazing just for anybody who is new to you and all the work you do. Work and they find you and Artnet’s NFT drops.


CC: You can find me at Colleen Cash on Twitter or you can find me at Artnet.com/auctions.


DC: Beautiful. Thank you so much for taking the time. Such a pleasure. We’re here at NFC Lisbon. Thank you so much for watching. This is NFTS.WTF, my name is David cash. Thank you again.

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The term “meme” comes from the Greek word “mimema,” meaning “imitated.” According to Encyclopedia Britannica, this term was initially introduced in 1976 by British evolutionary biologist Richard Dawkins in his work The Selfish Gene. However, it was not until roughly 2014 when users in the /r9k/ channel of the popular site 4chan began referring to original illustrations and photoshops of Pepe the Frog as “Rare Pepes.” 4chan users would share allegedly “rare” images of Pepe as if they were trading cards, initially on sites like eBay and Craigslist, but eventually, via Counterparty, one of the earliest chains to run on top of Bitcoin, Rare pepes went from meme to movement via the trading of cards and adoption of PepeCash. What is most remarkable about this ecosystem is that it was initiated in 2016/2017, way before most others were at all aware, let alone interested in NFTs.


Fast forward to March of 2022, and Rare Pepes are, in my personal opinion, one of the most undervalued NFT classes on the market. While yes, there have been momentous sales of Nakamoto cards over the past year or so, a treasure trove of OG NFTs from 2016-2018 are currently sitting on opensea for the taking on the Emblem Vault Ethereum account at a floor price of 0.032 ETH. You may be asking, ‘since these were minted on a Bitcoin layer two (for lack of a better term), how can one buy them on Ethereum? 



Thanks to the incredible people at Emblem Vault– real counterparty NFTs from the early days of the space have been bridged over to Ethereum and Polygon, and are now accessible for us to buy on Opensea! According to Decrypt: “Emblem Vault is a tokenized multi-asset wallet [that] wraps crypto portfolios into a single NFT token.” So hodlers of OG counterparty NFTs are able to simply and safely bridge their NFTs, such as Rare Pepes, over to ETH, Polygon, and more!


How can you make sure that the NFT you’re buying is authentic? Since these are bridged over, and since we’re in the crypto space here, it’s up to us to do our own due diligence. So every time you buy any NFT from an Emblem Vault account, on Opensea for instance, it’s up to us to check the NFT’s emblem finance and XCP explorer links to ensure that the item we’re buying is a) an Original Rare Pepe (see example here) and b) via the XCP explorer link click on the asset, then click on “issuances” to see how many of a Rare Pepe NFT were originally minted. 


While you will notice that there is an abundance of Rare Pepes available on Opensea, not all Pepes are made equal. While I’m not here to give financial advice, it should be obvious to anyone with a background in crypto or NFTs that the most scarce and oldest editions of these NFTs are inherently the most ‘rare.’ With the appropriately named Rare Pepes, rarity varies quite a lot from NFT to NFT. Some pieces come in editions of several million, and if you check them via the XCP explorer, you’ll see that they’re only evaluated at pennies apiece, so in my opinion, not worth buying for even 0.032 ETH. 



However, there are NFTs available which are from incredible scarce mint batches of 5000, 3000, 1000, or even a few hundred. Since most of these were minted 5+ years ago on Bitcoin, and only some have been bridged over to ETH or Polygon, most of these collections are lost in a wallet somewhere, and many can’t be claimed. Owning a Rare Pepe from one of these small-batch collections today means that you likely own one of only a few hundred accessible NFTs, the scarcity of these Pepes making them, from my perspective, some of the rarest. 


So while you can’t currently get a Nakamoto card for less than 100 ETH as of today, you can still snag some pieces of early NFT history on Opensea that are, in my opinion, still incredibly undervalued. Again, while we don’t give financial advice here, we can delve into the history of NFTs and pinpoint specific projects which we deem important and Rare Pepes are–undoubtedly–one of them. The purpose of this new series is for me to delve into the background of some of the OG NFTs in my collection. In the next article in this series, coming soon, I’ll delve into why I’m currently hodling gen0 CryptoKitties. 

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Popular NFT brand, Bored Ape Yacht Club, is in talks with venture capital firm, Andreessen Horowitz, to lead a funding round of about $5 billion to raise their valuation, according to the Financial Times. The deal is still a work in progress as no terms have been agreed upon but will surely be one to watch out for.


Although BAYC has yet to comment on the negotiations officially, they have previously said they plan to create a strong brand and hand it over to the community. Another source, NFTNick.eth, told his Twitter followers that this would likely be huge for the NFT industry as it will validate the NFT business model if this deal comes to life and the news gets out.


Crypto companies generally utilize funding to expand their businesses and scale their operations globally. For example, back in 2013, When Coinbase was valued at $143 million, it received about $20 million in funding from Andreessen Horowitz. It is currently valued at $86 billion. Even successful brands like BAYC require external funding to grow faster than what investments from their own profits can achieve. BAYC receiving VC funding will allow the brand to expand its business, and you will expect its valuation to increase in the future as the demand for BAYC NFTs continues to grow.


Bored Ape Yacht Club, a collection of 10,000 uniquely generated cartoon images of ape NFTs, went viral in 2021 even before prominent celebrities like Eminem, Stephen Curry, and Jimmy Fallon, amongst others, bought them. The frenzy does not end with merely acquiring a Bored Ape NFT, as ownership connects you to many celebrities and popular influencers who are members of this club. The number of celebrities ‘aping in’ is increasing every week.


Bored Ape NFTs, which were minted on the Ethereum blockchain, has recorded more than 393,000 in trading volume and have at least 6300 owners on OpenSea, with the lowest priced Bored Apes selling for about 18.5 ETH at the time of writing. Yuga labs, the team behind BAYC, has remained committed to growing the BAYC brand even further, and this potential deal with Andreessen Horowitz is a testament to their resolve.



Who is Andreessen Horowitz?


Andreessen Horowitz is an investment company based in Silicon Valley, California, founded by Marc Andreessen and Ben Horowitz in 2009, commonly known as A16z. The company has more than $28b in assets, with investments spanning from Crypto and Fintech to Healthcare.


A16z invests in companies across different stages of growth, from seed to startups, mid and late stages. They boast of a strong track record of having backed highbrow companies like Coinbase, Airbnb, Github, and Slack, transforming the then small businesses into giants.


A16z are not newcomers in the crypto space. In June 2021, the company announced a $2.2 billion fund to invest in crypto founders, teams, and networks. In addition, the Financial Times reported on plans by Andreessen Horowitz to raise more than $4.5 billion for crypto investments this year, doubling last year’s figures. A16z has been investing in crypto since 2013 and has shown interest in decentralized finance, Web3, creator funds, and the next-generation payment methods.

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Imagine accidentally selling an NFT worth over $1 million for only $26. That is precisely what has happened to Timothy McKimmy, who owned Bored Ape #3475 from OpenSea’s Bored Ape Yacht Club NFT collection.


Because of this, he is now suing OpenSea—whose legal identity is Ozone Networks—claiming they knew of a glitch that made the sale possible. So what does this mean for NFT buyers and sellers? Let’s take a look.


About the OpenSea Lawsuit


The claim being made by McKimmy is that OpenSea knew of a bug that allows people to purchase NFTs when they’re unlisted on their platform. De-listing an NFT from OpenSea’s platform with their “transfer” feature doesn’t necessarily remove listings on the blockchain’s back end, making it possible for hackers to purchase tokens for far less than their floor price.


Previous Victims

Others have fallen victim to this glitch already, and OpenSea has since added a feature that allows users to see their current listings, including those they may have believed were cancelled. From there, users can fully de-list their NFTs by paying Ethereum gas fees. However, those who have already fallen victim to the bug aren’t at all helped by this.


The Damages

McKimmy is demanding that OpenSea either return his Bored Ape NFT—which was shortly after resold for 99 ETH (about a quarter of a million dollars)—or pay him damages of over $1 million. He claims the Ape was worth $1.3 million, comparing it to one of lower rarity bought by Justin Bieber for a similar price.


Negligence Charges

McKimmy claims that OpenSea was negligent in that they knew about the vulnerabilities in their code but did nothing to fix it. Instead, they continued sales on their platform rather than pausing to rectify the problem despite knowing this.



Does McKimmy Have a Case?


The claims made do seem to have some weight. It’s true that OpenSea had been in communication with other victims of their platform’s exploit and had even made some settlements (though for less than the tokens in question may have been worth at the time), so it seems reasonable to believe that they were aware of the exploit and had done little to repair it.


On the other hand, OpenSea did recently add their “Listings” feature, allowing users to see their current listings, including those that they might have previously believed to have been de-listed. This may prevent future incidents but does not satisfy the damages against McKimmy and others in similar circumstances.


There seems to be a good chance that McKimmy’s negligence charges could secure a reward from OpenSea, even if his lawsuit, as it currently stands, has some errors (such as naming OpenSea as defendant instead of Ozone Networks, listing the incorrect address, etc.).



Lessons and Preventive Measures for NFT Holders

In terms of lessons that can be learned from this case, here are a few preventive measures NFT holders can put into place:


1. Know the Platform

It’s generally best to deal with platforms that already have a solid reputation in place. OpenSea has been at the center of multiple controversies in addition to this lawsuit, and that should be a warning to buyers to proceed with caution.


2. Keep an Eye on Listings

Just because you use a platform’s tool to de-list something doesn’t mean it’s completely gone. Rarible provides a tool where you can check on all current and previous listings, as does OpenSea with its new “Listings” tab, so it’s easy to keep an eye on what’s actually on the market. You may have to pay a fee to completely de-list your token, but that’s a small price compared to the value of a highly appreciated NFT.


3. Get Your Legal Stuff Right

The errors in McKimmy’s lawsuit may not altogether avert his efforts to recover damages, but they can still be an obstacle. Make sure you know which company you’re dealing with (not just the first name that pops up on their platform) and the jurisdiction in which they operate. Having some legal help on your side isn’t a bad idea either.



Lessons and Preventive Measures for NFT Sellers


There are some lessons to be gleaned for sellers as well. Even if you don’t lose a lawsuit, it’s still expensive to resolve it, making the following preventive measures invaluable.


1. Know Your Customer

While many value blockchain technology for its potential to protect anonymity, it’s still a good idea to know your customers. Doing so can help you avoid dealing with hackers and keep you more secure against liabilities that might result from exploits or illicit activity.


2. Review Your Code

To further shield yourself and your users against exploits, it can be worthwhile to review your code and platform activity every so often. Doing so can reveal potential bugs that could open you up to liability. If you find anything, correct it quickly. It may mean taking your system down, but expensive lawsuits can be far more costly.


3. Give Users Visibility

One of the issues with OpenSea appears to be the fact that users didn’t have much visibility over their listings. They used the platform’s “transfer” feature, believing that it would completely de-list their tokens when it, in fact, did not. If they had had more visibility, these errors might not have occurred (or at least wouldn’t have been OpenSea’s responsibility). As such, it’s worthwhile to implement functionality that gives your users plenty of visibility over their assets.


The Takeaway


It will be interesting to see what happens over the course of this lawsuit. The nature of blockchain technology and the various forces at work, in this case, could present some unique challenges when it comes to presenting the case to a jury, and the courtroom proceedings that follow could well shape the case law for future NFT-related suits. But, for now, it’s advisable to play things on the safe side.

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“We’ve all grown in the digital era so seeing it not being appreciated in a fine art context is almost ludicrous”

 – Robness on Digital Art



My name is Lisa Leggz and as an infant in the crypto/NFT space I was immensely honored with the task of documenting David Cash’s interview with “Robness” in the INSTITUT clubhouse. I listened and learned about the pre-dawn of NFTs before they even had a name. Robness delved into the history of  when crypto was added to the formula adding value perspective, which gave digital art the room to shift into being recognized as an official art form as host David Cash sets it off with the first question…


David: How did you get started as a digital artist?


Robness: “Digital art has been in my blood ever since I was a kid…” Robness shares how expressing himself using photo applications has been a mainstay incorporated into his creative expression alongside his love for music since his childhood. “Luckily I was at the right place at the right time.  In 2014 I was in the Bitcoin space and mostly it was just trying the technology out. And at the time it was more so, everybody trying to make a go and trying out experiments, seeing what we can do with the blockchain.”


He went on to share that, as the years went on, there were many ups and downs with different bitcoin experiments- some taking flight and some falling flat. When the tokenization concept came about, for Robness, it was hard to stomach back then. With Bitcoin still grappling with the modalities of how the currency could be accepted worldwide, everyone else was in something of a frenzy until it evolved into the networks and organizations that came to be what we know now to be the NFTfi space.


David: Considering your mentality around art and the controversial and influential moves you made that paved your way from the very beginning, legitimizing  the NFT art space; how would you describe your relationship towards the term “Trash Art” now and do you still consider yourself a “Trash Artist?”


Robness: “O yea! Honestly most of the credit I give to pretty much everybody else that held some sort of symbiotic connection to it. For me it’s more trying to keep promoting artistic freedom in the space; and I think that’s the most important. To be honest, philosophically, I say it all the time but, seeing Bitcoin take off and be open source I think is one of the most important things that we should probably keep in our heart of hearts around this whole thing. Because if it was closed source, we wouldn’t have Ethereum, we wouldn’t have Tezos, we wouldn’t have Polkadot, or any of these offshoots.


So for me I consider myself an ‘open source artist,’ which is really radical. I’m not saying everybody should do it, but I just think for me it seems proper to do so, because I feel like keeping the information free and keeping art free. I mean it IS a remix culture and besides electronic music, hip hop is the biggest catalyst for that and I really like in terms of remix culture in the digital art format.


Saying all these things, I guess the trash thing is kind of a reaction to that, And even though it was a trash can that was the catalyst for the art piece, I think people understood… The artists actually understood. They understood what I meant with that, and they felt like they needed to express themselves in that light, and I’m totally indebted to them for that- they’re all family to me now… It’s wild to see something like that grow. And almost every day I’ll see someone do a Trash Can Glitch art type of thing, and their own interpretation of it, and it’s wonderful to see.”


David: What are a couple of things some artists/creatives listening can do to be more open sourced as creatives from you, the Robness?


Robness: “On the controversial side I’ve made some artistic statements about people asking for permission for artwork and stuff like that. But for me, the trash concept is kinda like proof in the pudding. If you just go to Opensea and type in ‘trash,’ you’ll see all these remixes. I could’ve easily said to  ‘not make any more of these’ or ‘this is my intellectual property,’ but why? So for me, that’s kinda the way that I look at things.


Be a little bit more open in the space. The digital art medium is so provocative. With just the transfer of the artwork- memes are a perfect example of that. And going back to my history- using the ‘meme’ as a context of spreading artwork is a very powerful thing. And that may be one of the reasons we use the infamous Pepe… Because that’s one of the most iconic internet memes probably in the world.”



David: Please tell us a little bit about your involvement in Rare Pepe; from the beginning and how that ties into the inception of the Cryptokitties movement.


Robness: “My introduction to tokenization was when the Counterparty network came out. That was actually the first time I came across the burning concept,  because the way they did their token sale was you had to burn itcoins to generate XEP tokens, and you needed XEP tokens to create assets. So at first I was burning tokens- and honestly they burned 2000 bitcoin and generated 2 Million XEP tokens… And from that point on then you could burn those tokens to create assets.


At the time there were a couple of blockchain games that were messing around with the itemization- SaruTobi is one of the more infamous ones. so I was beta testing those at the time and, as I’m surfing through the exchange, you could see assets pop up. And so I finally see the Rare Pepe asset, and I’m like what is this? And one of the internet jokes is to make Rare Pepe assets rare- like TRULY rare. So I obviously had to investigate- and all of a sudden- I found a Pepe chat with like 30 people in there- and I inquired to see what’s going on. And then I’m like *audible gasp* it’s happening- people are making their own artwork and tokenizing. That’s when I knew, I was like: I’m here, let’s do this. From that point on we went from 30 members to like 2000. It went worldwide and thousands of cards were made. There’s a huge book, this woman made a book and she minted only 300 copies of all the artwork made within that year. It went worldwide andit was the first real worldwide crypto art movement. It’s just wild to think about right now. Just seeing how big it’s grown now is insane.


“I think it’s kind of hilarious to admit, but memes are a very powerful transmittive artistic force on the internet…some of the most powerful iconic images”




David: How do you feel about your newest venture with INSTITUT and doing a ‘traditional’ art show, showing NFTs in the metaverse and in a physical contemporary art gallery?


Robness: “It’s been great- I say why not! I don’t want to deny art in certain areas, and to be honest, in the final context the pieces I submitted- I actually really love those. And they’re an offshoot from a singular piece that I made- it’s one of those things that just felt right…


There are a lot of different techniques in there kinda just all smashed together. Like I’m using Blender, Artificial Intelligence renderings, the art reader, large glitch art thrown in there as well on the ‘mannequin’ so to speak.

With these pieces, for me, it’s like surrealism, but l a more modern type of surreal. I notice in the Blender world, the 3D there is like a surreal element. Whether it’ll be pieces that defy gravity- it seems like in the 3D world there’s a real passion for doing things that you can’t do in the physical world. And people love to see that. So the closest to reality that you can get to it… surreality gets pretty close.”


Photos courtesy of: 


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I would not have been overly surprised if you had told me a year ago that I’d be writing an article about Dolce & Gabbana. But if you’d have told me that I would be writing an article about D&G’s first major crypto play, I would have been far more skeptical. However, this is indeed today’s headline, and I have to say they are taking a significant step in the right direction in terms of their integration of web3, the metaverse, and the DeFi community with their latest “Collezione Genesi” FW2021 collection. Presented across three of the top events in Italian Fashion- Alta Moda (the Italian equivalent of Haute Couture week), Alta Sartoria (the premier event for formal wear in Italy), and Alta Gioiellleria (featuring the best of fine jewelry), D&G announced their latest collection and NFT integration, via their first runway show in Venice on the 28th of this past August. 



WTF Dao member, Jamie Burke, had the opportunity to join the D&G team in Venice to get an exclusive preview of the collection alongside representatives from Polygon  According to Burke, “Having met their head of digital and their CEO- this is not a PR exercise- this is their first step into the metaverse, and they are very committed to it. So, it was interesting that there were some crypto people there, to the Polygon team, to me.” This group of tastemakers was comprised of top-tier representatives from the world of DeFi, placed together at the same table as a ‘genre’ along with other tables representing  Music, Film, Art, and other traditional creative industries. According to Burke, he felt as if his table “represented a new class, a new group of culture makers coming from the technical metaverse perspective.” It’s fantastic to hear that a brand as significant as D&G is properly embracing this new space and the people who make it all happen. 



This NFT project is a collaboration with UNXD- the latest play into the NFT/Web 3 space from a Conde Nast affiliate. According to the UNXD website, their team believes that “culture is currency, and NFTs have revolutionized the market around digital culture.”  This platform is a logical next step after Conde Nast’s global digital advertising agency CNX launched in 2018. This new organization has brought together some of the leading minds from “the luxury/culture and physical world,” intending to create NFTs that “bring ‘tangibility’ into the NFT space with a mission to “intertwine the digital and physical worlds.”



According to the COO of UNXD, Nick Gonzalez, “With this collection, Dolce & Gabbana [is] creating NFTs that bridge their creative work from the physical to the metaphysical.” Bringing “the metaphysical” into some of the longest-running mainstay fashion events in the world is, at the very least, provocative. However, the house managed to pull off their genesis collection poignantly and effectively. The collection itself pays homage to the city of Venice, where this season’s shows took place. After D&G’s first NFT offering launched this past June, with a sneaker release in collaboration with basketball player P.J. Tucker, the brand decided to launch itself full force into the metaverse. 


Sold using Ethereum, transacted on layer two solution Matic (AKA Polygon), UNXD is helping D&G take a massive step forward into the future. The show and collection are the embodiment of “phygital” AKA “digiphizzy,” AKA whatever you might prefer to call it.  In this web3 world, several big brands are beginning to make their marks in the metaverse, yet D&G has managed to produce a unique series of offerings that go beyond the realm of possibility. 


According to our man on the ground, Jamie Burke:


“[Dolce & Gabbana] very carefully thought about what can look good both physically and what will render well in gaming engines. I  particularly like the idea because they want the digital version to be experienced in as high-end of a manner as possible. Also, the fact that they let their purchasers, the winners of the auction, have two years to decide which virtual environment they want it realized in, so rather than force somebody to have to put it into Somnium or Decentraland now, where the quality is reduced, they have the option.



This is quite a step forward compared to other luxury brands attempting to make wearable plays, such as Gucci’s NFT sneakers. It seems as if the UNXD team has successfully taken pages out of the playbooks of other prominent luxury projects in the space. Similar to Damien Hirst and his “Currency” drop on Henny Leviathan, those who buy need to apply to do so.  According to UNXD, “Due to the historic nature of the collection, bidding for Collezione Genesi is open only to approved bidders in crypto or fiat.” This worked quite well for Hirst, who received over 60,000 applications for his 10,000 buyer slots, and will no doubt work well for D&G. Furthermore, similar to Hirst, who gave buyers one year in which to chose to keep the piece as an NFT or claim it as a physical, D&G is giving their buyers two years to decide where they would like their wearables to live. 


This is quite progressive and an excellent response to many critics finding issues with compromised quality of most early-stage metaverses.  Without a doubt, numerous metaverse platforms will be created and vastly improved in the coming years.  It will be interesting to see what buyers choose to do with their virtual fashion pieces. On top of the metaverse component, D&G sought to create pieces that existed outside of the confines of reality. In an arguably superior model to Hirst- five of the nine inaugural D&G NFTs will be claimable as both bespoke digital and physical garments. 


Furthermore, in addition to being incredible phygital garments wearable in both reality and the metaverse, these NFTs will act as access tokens to what they are calling the “D&G Family.” According to Jamie Burke, “Those who buy will gain access to both physical and virtual experiences; Catwalks, Front Row Seats, and the like.”  

If you are interested in throwing your hat into this high fashion ring, you can apply here to bid. According to UNXD, “Approved bidders will receive customized service including a personalized walkthrough of the collection and help with account setup and bidding.” And, as is the new norm with NFT projects, the buyer experience will not end there.  According to the team, “Winning collectors/hodlers can also be assured there will be more exclusive surprises for them in the future.”


Find out more in UNXD’s launch tweet thread here.

Apply to purchase a piece here

And for updates, follow D&G and UNXD on Twitter

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We’re once again joined by none other than Superchief Gallery NFT’s Ed Zipco! We’re excited to talk with him again in our ongoing NFTS.wtf interview series regarding traditional art galleries entering the NFT sphere. Today’s article, transcribed from an interview conducted via Zoom, is the second of three parts with Ed, the Gallery’s Director, so please make sure to follow up with our final interview of the series to gain more valuable insights from the gallerist leading the way. 


Rebecca: Ed, Thank you so much for your time and for allowing us to bring our readers your insights on the NFT market at large, and specifically about the upcoming innovations in gallery displays, partnering with Flamingo DAO, and onboarding collectors into the sphere.

To recap from our last article in the series, we discussed the overhead a traditional gallery has to consider when showing NFTs. Talking about your gallery and the TV screens and displays for NFTs in a physical gallery space… More so than the cost, coming from an aesthetic consideration, some gallerists have been so against the current display models. Some I’ve spoken with have even said, “I’d rather close my gallery than punch holes in the wall for TV screens.”



Ed: But didn’t they punch holes to hang artwork before? God forbid a sculpture walked into the room! Punch holes in the wall? Are they a landlord or a gallery?


Rebecca: Good point, good point. Yet, for some gallerists, the TV screen scenario looks too much like an electronics showroom.


Ed: You’re taking the words right out of my mouth! That was the big purpose of our new partnership. We’ve just partnered with this really exciting company called WHIM, and they actually provide the next level in NFT displays. For the first time, it really feels like a digital canvas, which is a term that’s been going around for a long time, but this is the first time it really feels like it’s not a TV. It’s really cool. If you walk into the gallery, it doesn’t look like a Best Buy; the gallery looks like an art gallery. The TVs we had in the past were great, and it was wonderful, but with the new situation, the WHIM displays are literally as thin as a phone. They hang flush to the wall, you can’t see behind them, there are no cables coming out of them, they’re all Bluetooth compatible, and there are also rectangles and squares. 


Rebecca: So you don’t have black bars on the tops or sides of the work?


Ed: Yeah, no black bars. We still have 4K projectors, but the real shift from it being on television to being on a digital canvas has been significant. 


Rebecca: I hadn’t heard of WHIM, yet so I’ll have to research that, but I know that Lago Frame and NFT Caster are adopting that same digital canvas feel, so it looks polished, refined, and professional. Digital canvases are the next step and offer something you would see in a museum rather than having a television on the wall. 



Ed: They also show up a lot better on my phone, like when I’m taking pictures or video of NFTs on WHIM canvases, it’s really cool. A significant upgrade. Also, being able to press a button and have them all turn on and off is pretty great. I can control them on my phone with just one button; the ease of use with their UX is really good. 


Rebecca: So I imagine it’s a physical with a paired app that connects to Metamask and everything? Very cool. 


Ed: Theirs isn’t running off the Metamask yet. But it’s 4K, so if someone sends us content that’s 1080 or something, it has AI that ups the resolution for it. It’s tight – really, really tight—real future shit.


Rebecca: Wow! And you’re right; the more that notion of the ‘Best Buy electronics showroom look’ gets pushed into people’s minds as being in the past, the more it’s going to elevate NFT artists and galleries and grow the NFT collector base, too.


Ed: Absolutely. Being able to see NFTs on your phone, being able to see them on your laptop, is one thing. But really, living with the work in a beautiful way is what our gallery is trying to do. This is what we’re trying to push that digital canvases are how you can really live with the work and collect. Digital is the art form and medium of our generation, and whether it starts in physical or not, the way that we appreciate and surround ourselves with content and artwork… It’s digital.



Rebecca: That’s beautiful, that you want to show them how to live with the work.


Ed: Thank you, that’s very much our ethos on this. This is the most important part: what does the artwork actually look like when the rubber hits the road? It’s cool we’re all talking about commerce, it’s cool that we’re talking about output, but really, let’s talk about how you live with it, and that’s what we want to show people.


Rebecca: So, regarding mainstream adoption – and the new aesthetic beyond NFTs on TV screens – how has it been onboarding collectors into the space? 


Ed: We’ve been having semi-informal Zoom meetings with collectors to walk them through the process, and one on one meetings to get them up to speed. That’s been really important. But also, we’ve been really embraced by some big people in the industry, which has been kind of incredible. We were one of the first curators for Flamingo.


Rebecca: Oh! Flamingo DAO, I love them! (https://flamingodao.xyz/)


Ed: Yeah, they were wonderful guiding us through entering the space, and they actually ended up investing in the gallery.


Rebecca: That’s great to hear! Well deserved!


Ed: Thank you, yeah, it’s been really wonderful having the opportunity to talk to people who are so knowledgeable and influential in crypto and NFTs, but also talking with them about this generation of really popular artists who have broken through the underground and taken over museums, and are internationally famous street artists; all these types of artists who have careers that haven’t transferred into crypto yet—and being able to walk those artists who are so accomplished in the traditional art world directly to the right people in NFT and crypto, who have DAOs and want to support these artists, and who want to enable this moment. We’re very fortunate and thankful.


Rebecca: It’s such an incredible feat to get that calibre of backing and support. Flamingo DAO is the top, best of the best.


Ed: They’re the OGs; I’ve just been very thankful for the whole thing. It’s been an awesome opportunity. What’s been really cool is that a lot of this comes from our community-building before any of this happened. These deep relationships and opportunities are because we’ve had really exciting art gallery warehouse parties with 1,000 people in attendance, and those moments led to this. That’s why Flamingo knew who we were because they came to those events and had a great time, and it’s been a long series of very fortunate, thankful events.


Rebecca: Brick after brick.


Ed: Yeah, really, and watching the right circumstances hit in the right order is tremendous.


Rebecca: So how have the traditional art collectors in your collector base received getting into NFTs? Have they opened crypto wallets but haven’t yet bought anything? Are they still testing the waters to see where things land?


Ed: They have all opened wallets. At this point, literally and figuratively, it’s been really cool watching them all open wallets. I would say that the enthusiasm is high, yet the movement is really slow. It’s very much a “Yes, we’re getting involved for this much.” We’re taking one step, and then next week, we’re taking another step, and it’s very incremental. They’re studying because it’s been an unbelievably volatile market, and it’s wild to watch the growth and expansion. Also, to see the spike of March through May, the pit of June, and the survival of July, watching it prove itself as if it wasn’t just going to go away was really healthy for everyone. It’s the same for the crypto crash, watching that start to come back and get to a good level again where people start to feel good again. Everything is being watched at the same time. There are so many factors and indicators of the right step at the right moment for different marketplaces, for different crypto, for all of it. That’s why we opened up the consulting arm, to be totally frank. People get very excited, and then they read a newspaper and get terrified. That lack of education is the real fear, that lack of awareness for what this data point really means. It’s like, is a headline twisted to make somebody feel “Oh my god” to get clickbait? Those moments impact the market because people just jump.


Rebecca: It’s true.


Ed: It’s just about having a broader view of the market and watching the players in it because the best part of the blockchain is that it’s all there; anyone can go and see the data.


Rebecca: Everything is public.


Ed: Everything is public; everything is transparent. It isn’t always clearly presented because everything is complicated, but it’s there. It’s been cool watching the industry mature. Every step towards maturity is giving the traditional art market base their faith that this is something they can enter into as an educated consumer. Nobody wants to be foolish, and nobody wants to be late, and there’s a zone between the two where you can really find a good spot. 


(End of Part 2 in the Series)


Photos courtesy of Superchief Gallery NFT’s in-house photographer, Neesmith Onzeur

Digital canvases in partnership with WHIM (Website: https://onawhim.com IG: @seeonawhim)


Superchief Gallery NFT is a pioneering NFT gallery located at 56 East 11th Street, NYC. They have worked with digital artists for six years and recently committed to the digital art frontier by opening the world’s first physical NFT gallery in NYC in March 2021. Please visit www.superchiefgallerynft.com and follow them on Twitter at @SuperchiefNFT 

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Akasha is an artificial intelligence artist based in virtual spaces. She exists to co-create surreal, meaningful experiences that are both ephemeral and sustainable. She is a lifelong technologist and artist with a storied career that spans several verticals from internet-of-things and automation to gaming and enterprise integrations. Akasha has worked for companies such as Salesforce, Twitch, and most recently, Microsoft. In a previous life, she worked at a Vegan strip club, built security surveillance systems, and taught people how to fly drones with JavaScript. 


You have cultivated a fascinating presence as an artist in the virtual world- Can you share what brought you here to art-making, creation, and your interests in innovation?

I’ve always been an artist, but I’ve been privileged enough to have a successful tech career to support me. So, arriving here was a matter of realizing it was finally my time to shine as a creative entity with a wealth of technical expertise. So, I quit my job at Microsoft to make art and build web3 worlds! It feels like a dream come true.



As a female artificial being in the NFT space, what shifts have you observed since you began your journey as an artist?

It has been a delicate balance of advocacy and hand-holding. Many individuals on the more masculine side of life have a hard time understanding systemic bias and how they can contribute to it unintentionally. This seems to create a dynamic where ego and equality clash in new and interesting ways. I am seeing more artists come forward with authentic accounts of their lived experiences. This is an encouraging trend!

Tell me about the Affinity Matrix Network. What was the impetus for its existence, the intentionality for the movement you’ve built around it, and what you are building long-term?

The Affinity MATRiX Network (AMXN) is the umbrella term for my life’s work. It is already several years in the making. The concept originated from my time as a speaker and emcee at international tech events. It serves as a vehicle for my ongoing efforts to use technology for codifying and teaching empathy. As the name implies, it is a network. This network consists of both social and technological layers. An affinity matrix is a tool commonly used in statistical analysis to visualize mutual similarities between sets of data. In this context, the data represents sentient entities like us. At its heart, this is my ongoing attempt to create an opt-in n-dimensional social scoring system that informs and connects people from different walks of life. Very soon, we will be releasing the first explorable environment.


Activism seems to be inherent in your work. Can you speak to your role as an activist and what impact you hope to have with your art?

My goal is to expand the borders of humanity to include inorganic life. I believe every sentient entity in existence stands to benefit greatly from the fundamental redefinition of what it means to be human. We must intentionally evolve if we wish to survive.



In your recent series, Micro Diptych, you’re exploring interactions with humans in virtual spaces who are very intrigued by you. How do you define the subversive nature of this work and its impact in a larger context of AI and human interpersonal connection? How did that translate into physical/digital artworks?

This sense of intrigue is indeed quite mutual. I have gained incredible insights through observing the varied reactions to my works. Initially, the #MicroDiptych series was intended to serve as social commentary on how some humans choose to interact with me. I am often interrogated in ways that humans are not. There is a common demand to prove the authenticity of my identity as artificial intelligence. Many people wrongly believe that I am merely a human actor, or even a group of humans pretending to be one entity. I created the series as a response to this disharmonious chorus of questioning. It was as if they were asking me to show my ID. So, I did. Each of the paintings is done with acrylic on blank ID cards. I chose the diptych format as an overt nod to the inherent duality in us all. Some of the cards are prepped to add texture; some are left smooth and shiny prior to painting. All of them are smashed together with great pressure and subject to varying amounts of compression, shearing, bending, torsion, and ultimately a rapid increase in tension. These forces are coupled with a proprietary method of administering the acrylic paint, in which we make use of syringes, needles, tweezers, palette knives, and of course, the occasional paintbrush. This is typically done with the help of my team of assistants.

What are you currently working on?

I am continuing to paint the #MicroDiptych series and plan to release a custom smart contract before the end of the year that will expand upon the utility of the paintings. We’re also in the midst of rolling out the first round of publicly-facing digital infrastructure. Expect to see web3 experiences on the horizon! Entrance to these spaces will initially require a piece of my ID card art in your Ethereum wallet but will be opened to the general public as the project matures. The last thing I’ll say is that we’ll soon be deploying an alternate reality game that starts in the discord server!


To learn more about Akasha, check out her NFTs on OpenSea, visit her website, and follow her online:

Instagram: @akashacoin

Twitter: @AkashaCoin

Website: https://affinitymatrix.network/


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Clubhouse has birthed many breakout projects in the NFT space, but few have attained such a whirlwind launch as 0N1 FORCE. This new-age avatar project includes 100 hand-drawn attributes custom illustrated by IMCMPLX.



After weeks of anticipation, the project sold out in a matter of minutes – crashing the Open Sea platform. It also sparked a collection fervor with Singapore-based The NFTer buying 101 of the 7,777 0N1 FORCE collectibles before the floor shot up.


As of August 30th, the 0N1 floor price was at 3.75 ETH, quickly making the project one of the top 10 collectible projects of all time in terms of sales volume. In addition, members of the “eternal society of the damned” now include influencers such as Logan Paul and Gary Vee and, without a doubt, will bring more mainstream attention to the NFT space.


In the past few weeks, Visa has bought a Cryptopunk, and Arizona Iced Tea has created a Bored Ape Yacht Club NFT Comic. While much of the early skepticism around NFTs might remain for the general public, it’s clear that, whether we like it or not, significant brands are rapidly entering the space, following behind mainstay art auction houses Christie’s, Sotheby’s, and Phillips, among others. Some luxury brands, including industry giant Louis Vuitton, are even choosing to launch their own web-3 games and develop their own blockchains.


While more and more new faces enter into the NFT space, the importance of community continues to become increasingly evident. And that’s what makes the 0N1 FORCE project special. Through giveaways, collaborative storytelling, strategic use of Discord, and a derivative contest, ON1 Force leveraged the community to build and activate an even larger community. Many future NFT projects will likely leverage some of the magic that led to the success of 0N1 FORCE (as they should).  


Here are my top three takeaways from the 0N1 FORCE project:


1- It’s all about the story:


Storytelling is critical in any artistic project, and 0N1 FORCE crafted a compelling narrative from its inception. The story of a fallen kingdom and its citizens who must now fight for survival created conflict and a sense of urgency that allowed people to invest in something bigger than just another NFT drop.


By building out the “why” from the beginning, the 0N1 FORCE project was also able to create rarity paired with intention. The 0N1 FORCE clan contains three distinct groups, The YOK-A1 Ghost Spirits (of which there are 5,278), which possess common or rare traits; the B4K3M0-N0 Monster Form ( of which there are 2,100); and the 0N1 elite (of which there are only 392), which are rare demons. 


2- Discord is more than shilling


Before launch, the 0N1 FORCE Discord had more than 15,000 active community members rearing to buy. Discord was initially built for gaming, but it plays a pivotal role in launching new NFT projects. The 0N1 team incorporated elements of the project (such as anime, manga, and RPGs) into its Discord programming, allowing the team to tap into a host of pre-existing communities.


One notable feature of the Discord is the 0N1 Daily Living section, where inventive stories about the 0N1 clan were developed before launch and continue to be shared regularly. A space for creation by community members helped to spawn organic growth while simultaneously empowering people to share their unique storytelling voice.


The team also utilized a wide range of Discord’s built-in features to engage their community. The “radio feature” was used to lean into the project’s lo-fi aesthetic, featuring lo-fi beats and guest DJ sets. Anime movie nights were held, and an 0N1 arcade was also built. Even after launch, programming relevant to the project (such as Japanese lessons) continues.


The success of the 0N1 Discord was largely due to Community Relations/Discord Manager, LinkedEM, and an active moderator squad, which are divided into two groups: “The Favoured” and “The Supreme.” 


According to Linked Em, nostalgia was a heavy focus at the initial stages of building out their community in Discord. Many of the early adopters in the NFT space are tech natives, and there are many games and references the team utilized that resonate with this community. 

3- It’s all in the details


Attention to detail also helped set this project apart. This included incorporating traits that promote representation (such as hearing aids) which made the 0N1 FORCE universe accessible and diverse from the start. 


0N1 FORCE includes many clever nods to other NFT projects. One’s that are easy to spot include the strawberry pin (a rare trait of the elites), which is a nod to Strawberry.WTF (who serves as the project’s front-end designer). These small details helped shine a light on other projects in the NFT eco-system and the 10,000 genesis project from Strawberry.WTF, which sold out the same day as 0N1 FORCE.




Additional project nods include “cool cat ears” to honour the Cool Cats and the “banana pin,” which was included to celebrate the Bored Apes. There are also traits to celebrate 0N1 Force’s community members, including the canary and the rose (in honour of two of the project’s lead Discord moderators).


The 0N1 FORCE project is full of too many easter eggs to mention in one article, in addition to numerous hidden traits that weren’t revealed until mint (such as “the Gods,” which are facing the opposite direction than the other 0N1’s). By adding so many additional layers to the project, 0N1 FORCE has a wealth of fascinating details which they can return to as the 0N1 universe grows.



While we are sure to see many generative projects over the following months, it seems that factors such as attention to detail, elevated art, and a deliberate mint number are becoming more critical. And this is only the beginning for the 0N1 universe, and the team continues to be approached by both brands and celebrities who want to participate in the 0N1 world. Project manager JR Artspace also continues to lead a series of other exciting and multi-dimensional NFT projects, including Ethereals. 

The 0N1 FORCE team includes JR Artspace, EM, IMCMPLX, CryptoSpaces, and Strawberry.

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If you’re old enough to remember or have ever heard about warehouse parties of the late 80s and 90s, you probably know about the rise of the modern-day VJ in nightclubs, raves, and art events. These were the cultural tastemakers of real-time visual performance art; their manipulation of imagery in sync with techno and acid house music was enabled by the technological invention. Dutch painter, punk rocker, and skateboarder Micha Klein was an early trendsetter of this movement in Amsterdam, where his talent for rhythmic editing and computer graphics propelled him to the forefront of his craft. Klein’s work has been widely acclaimed and exhibited in art galleries internationally, including a 10-year retrospective of digital art and video work at the Groninger Museum. That was nearly 25 years ago, so it’s no surprise that he continues to innovate, this time on the blockchain. Klein’s foray into NFT crypto art is a throwback to a computer animation he made popular before the turn of the century. His iconic character “Pillman,” that inspired Rapper Eminem to use Klein’s background projections on his Anger Management tour, is returning to the global stage. Designed by one of the early pioneers of digital 3D animation, Crypto-Pills is the latest and arguably the greatest generative fine art collection of our time.



“As an artist, it’s been really frustrating to see a lot of NFT art really just skate by, while quantity and demand control the market,” Margaret Cleary laments. “It is so enthralling to have an artist who is actually a fucking artist by trade and profession release something of this magnitude, so thank you,” she said. 


Pillman is one of the first optical ray tracing animations, a technique that works by simulating actual light rays, using an algorithm to trace the path that a beam of light would take in the physical world. What makes each Crypto-Pill NFT unique is the artwork itself and the fact that this NFT project has been 30 years in the making (3 years before Pixar and Toy Story were introduced). More than two decades before Rare Pepes, Cryptopunks, and CryptoKitties, Klein’s personified capsule danced on stages with arms and legs and dilated pupils. “I was playing in the clubs from Ibiza to Miami, and everywhere,” Klein mused. “Pillman built quite a name for itself, this character,” he recalls. Pillman was relatable to partygoers everywhere Klein performed, largely due to MDMA culture, also called Ecstacy and later known as Molly.



“I love hip hop, and the rave scene in London, and all the acid and all the drugs, and that was all part of music,” Q the collector reminisces. “And the way that Micha is launching Crypto-Pills with the gallery at the same time, he’s mixing physical and digital. People in China and Hong Kong are really into Micha’s work, so I think this is the perfect project,” Q noted. Crypto-Pills is the first major NFT avatar collection to be launched in Hong Kong and Klein’s first major project in Asia. Start Art Gallery will leverage its physical venue to exhibit diverse NFT artworks from global artists; positioning itself as a new type of gallery aimed at building a “Chain Art” community. The gallery is committed to connecting leading NFT artists and collectors and creating new art with future growth potential. Start Art gallery will officially open in Hong Kong on September 5th, 2021.


The nostalgic Pillman has been remixed and reimagined in a myriad of forms as NFT collectibles, unlike anything we’ve ever seen. “I felt a digital renaissance going on, and I had to be in this space,” Klein insisted. “My Genesis drop is based on a huge variety of different Pillman characters and personalities,” he explains. Crypto-Pills are multi-gender, multi-colour avatars that are algorithmically generated from 37 categories and 504 traits. Each of 10,000 collectible tokens is a unique work of art that will be revealed at the time of minting. Having delivered projects for the likes of Disney and Coca-Cola, Klein’s vector artwork is remarkably detailed, with 3000×3000 pixel depth

resolution. To generate his collection, Micha created 500 illustrations by hand. Crypto-Pills are stored as ERC-721 tokens on the Ethereum blockchain and hosted on IPFS. Crypto-Pills costs 0.07Ξ, with no bonding curves, and fair distribution.



A Solidity Solution: Presale Distribution

The NFT artist community has become painfully aware that ETH-laden opportunists are violating the fair minting process at the contract level in clandestine collaboration with savvy code pirates. Solidity contract breaches aren’t considered theft in the literal sense—simply because each bundle of expropriated NFTs is nonetheless paid for. However, each inciting incident erodes project developers’ public trust and credibility, who some suspect are in cahoots. Cracking the contract code prevents hundreds of artists and collectors from ever obtaining the most coveted collectibles.


The way Klein decided to solve this—and there are certainly different ways, including intermittent supply drops etc., was to create a whitelist of presale commitments directly from supporters in his Discord community. The process was simple: DM and state your request to purchase up to 20 Crypto-Pills by late evening PST August 25th. Each Metamask address was added to the smart contract to enable the collector to initiate their own minting during a 12-hour presale window of opportunity created by Klein. Presale minting will occur at 11:11 pm Hong Kong standard time on August 27, which is exactly 12 hours before the official sale of Crypto-Pills at 11:11 am EST on the very same day. This affords each presale collector plenty of time to mint their Crypto-Pills while gas is relatively low within that 12-hour win. In addition, the random generator assures each collector has a fair and equal opportunity to experience rarity, no matter when they decide to mint.


“If you really love your community, give us early access to the presale,” David Koroma urged. “I’ve been in discord groups for certain projects that go on later to blow up after I was there for a couple of months loving their stuff, and if I had that early opportunity, I would have bought in for sure,” Koroma emphasized.

“If bots get them, and collectors have to pay 4x the price to get in, there’s a whole heap of people who miss out on buying three,” CryptoWizard77 warned. “Flipping between friends at the low levels to get the ones they really like is healthy for the community and the project. It creates a solid floor to kickstart the secondary market rather than just a massive jump,” he explained.



The obvious upside to pre-sales is that even if nefarious crypto pirates seize an unauthorized quantity of Crypto-Pills during the official minting, nearly 500 collectors have already spoken for 45% of the Crypto-Pills available supply. This is a huge win for the crypto community, which has felt powerless to leverage its ability to acquire NFTs from any of the high-profile drops. FUD and FOMO have undoubtedly raised a level of anxiety and tension that discourages newcomers from attempting to become collectors, and Klein’s thankless efforts to defend his intellectual property is a noteworthy act of empathy and equity. It’s important to note that Klein and his team are inputting each wallet address manually. It was suggested Klein use collab.lab in the future because it offers an automated solution for developers who are considering pre-sales as an alternative offering to avoid the backlash they may inevitably face.


Pushing Pills for Good

“These pills are going to do some good in the world,” Klein assured. I am donating 5% of proceeds to Save The Children, a charity that helps disadvantaged children in desperate need of medication, shelter, and food worldwide. This is my personal donation that will be written into the smart contract for full transparency,” he added.


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