HATman.01

GM and happy wednesday y'all! 'Hermitage' on @objktcom part of 'ECLIPSE' group exhibition curated by @scenespaces still available for grab at 250 ꜩ (link to work below)

Roman Graffiti - The peoples writing collective. The graffiti found on ancient Roman ruins was once dismissed by researchers and institutions, just as the art & culture here in this space is often dismissed. Yet those ancient writings & drawings are now seen as one of our most valuable windows in to the thoughts and attitudes of societies past, a decentralised insight in to the true lives of the people. It is with this spirit that the Roman Graffiti writing collective & blog operates. From the concrete walls of cities to those coded walls of forums, we write as record and reflection on culture, as expressed through art. I am fortunate to find myself at the head of that team of writers; whose works would sit well amongst the poetry found in the House of Maius, who could give dialogue to the day as those on Athens market walls once did, and who reflect an understanding of art and culture as well as those writings found on the walls of Fabius' shop. Across the last quarter we have already marked 91 "walls" with over 270 pages, covering everything from our contemporaries to the most contemptuous parts of art and culture, and we are just getting started. I am deeply thankful for those who bought us here, unifying these disparate missives, funding chisels so our message may be carved deeper in to the daily wall, and encouraging us to find new walls to write upon. We would not be able to do all that we do without @bonk_inu and @exchgART @JTLissPhotoArt @strakts @FramesbyVik @intodaysnight

Hats.Sats GEN2 Litepaper 🧵🧵🧵 We sold out GEN1 a year ago, and since then our sole focus has been to try and push the concept harder and achieve more. More for Bitcoin. More for the artists. & more for the scene. Welcome to Hats.Sats... 🧢🧢🧢

My name is Ilya Bliznets (b. 1997). I am an artist from Russia and have been practicing art for nine years. Initially, my focus was on traditional art; I worked with painting, objects, and graphics. Painting has been my primary medium and continues to be so to this day. Three years ago, I discovered NFTs and began to delve deeper into digital art. Since then, my focus has shifted toward the digital environment, and I have increasingly paid attention to working with digital tools, including the rapidly developing field of artificial intelligence. Regarding my current practice in digital art — I work in the field of digital figurative painting. In my works, I combine images created with the help of artificial intelligence (serving as a foundation or framework) with manual post-processing in Photoshop. I use various brushes, filters, and layer blending techniques to create a distinctive painterly texture. I also incorporate various PNG files that I find online — these are often objects which I integrate into the artwork itself, enriching the main composition. At the core of my approach lies observation and an interest in everyday details, which I merge with surreal elements to create multilayered visual scenes. I am primarily focused on the inner world. It is important for me to reflect and understand what fills me — my states, emotions, and motives. Art helps me to better realize myself, to make sense of things, to notice what previously remained in the shadows, and to find my own identity. In this process, I myself become the central subject of my artistic inquiry.

When I think of why the more melancholy feelings inform my art, I often return to something Rebecca Solnit wrote in her essay, The Blue of Distance: "We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the distance between us and the object of desire that fills the space in between with the blue of longing. I wonder sometimes whether with a slight adjustment of perspective it could be cherished as a sensation on its own terms, since it is as inherent to the human condition as blue is to distance? If you can look across the distance without wanting to close it up, if you can own your longing in the same way that you own the beauty of that blue that can never be possessed? For something of this longing will, like the blue of distance, only be relocated, not assuaged, by acquisition and arrival, just as the mountains cease to be blue when you arrive among them and the blue instead tints the next beyond. Somewhere in this is the mystery of why tragedies are more beautiful than comedies and why we take a huge pleasure in the sadness of certain songs and stories. Something is always far away." As artists, I believe that we’re already instinctively attuned to the idea that longing, absence and sadness are not symptoms to be fixed but modes of being to be felt. Much like any kind of feeling, sadness has the power to expand us, to assert that we feel and tha we exist. It gestures toward what cannot be prised from us, even if paradoxically it's a reflection of our desire, our want for things that we can never have. To say “don’t make sad art because it won’t sell” is to misunderstand both what art is and why we make art. I didn’t want to create art to conform to markets. My art and style is not a marketing strategy. I create to feel witnessed, to witness others who may feel the same way, and to transform and speak the unspeakable. Creating art that is dark, sad, or melancholy isn’t just an aesthetic to be packaged into a product in the hope that it’d be hung onto a wall or kept locked in a ledger. It’s a radical form of honesty. It’s me saying that I exist. It was never our job to be digestible. Artists have always rebelled against the norms of our time. Dare to be one of them. Dare to make art that resonates with you; art that witnesses you even if it unsettles. Especially if it unsettles.

layer

Gm - experimenting

Life hack: Putting your crypto into art stops you from fidgeting with it.