2025 has flown by at some velocity, with the Summer & Autumn seeming to make up most of it. As we near a new year, I want to go through some of my favourite things that happened in this one, across art, chains and platforms.🧵↓

i was nominated for the @0xMQQ internship this week! my vision is the Blockchain Pastoral, creating an idyllic scene by curating art of animals—a perennial subject of NFT art and art in general—within the avant-garde digital art space to begin i have wrangled a herd of Horses?

https://t.co/GnJQE5a7Vw

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Thanks as always to @exchgART & @bonk_inu Art Masters for the help in publishing this. A huge thanks to @JTLissPhotoArt, the man himself, for getting me in this position, as I’m so grateful to have a place ot publish writing of this ilk. Links: VVV:

Finally, from me, I’m immensely thankful for everyone who has supported me this year, from minting out two collections (POSTCARDs2 & PRAY4LOWBIE), to Exchange, Verse and VVV for letting me host writing and spaces with them. I’m honoured to be in the position I am and have some

There’s so much more I could list but these things must have a conclusion. Other works I’ve enjoyed, in no particular order, and that relate to what I’ve talked about above, are: Terrorism’s cards, Runway Show (Dido Pynell), both of Mika Ben Amar’s releases with Verse, Planet

Outside of Solana, my other favourite work of on-chain art this year is ‘Wanderer’, by Jan Robert Leegte (@JanRobertLeegte). As part of Photo Paris 2025, Jan made ‘an autonomous, digital flâneur, an internet-based entity that roams the map of our physical world through an endless

Another collection that dealt with the gallery space/viewing experience was Tojiba Brand Manager’s (@m_m_____m____mm) ‘The Same Old Gag’, which appears as the antithesis to the traitmaxxed Drifella III. 777 gallery spaces, many imperceptibly different from the other, filled with

Yeche (@Yeche_Lange) has continued to pioneer incredible physical art, such as Jim Spindle’s (@jimspindle) ‘Scarecrows’, which were on display alongside Kenny Schachter’s (@kennyschac) work for the duo show ‘Upside-down Promises’. These scarecrows preceded the launch of VVV, by

Bosch (@supermetalx) has continued his seemingly unceasing craft, including physical kits for Metal Mons, his chess-like boardgame, as well as his Pokemon, Little Swag World and ‘Mons’ ceramics, from his own GAN creations in 2022-2023. These ‘Mons’ ceramics were a part of

FairyBaby's (@fairybaby420) ‘Squishy Drifters’ book is a highlight, and sets a tone for what I believe will be an uptick in high quality physical publications next year. It’s vividly saturated, and has a flow that should be impossible to work as well as it does given it’s intense

While it’s been great seeing on-chain developments, one of the trends I’ve noticed and enjoyed this year is an increasingly physical relationship between the artists working here and their art. Mifella’s (@MMifella) monthly auctions on Exchange were one of the highlights: from

For me, and undoubtedly a lot of my friends and peers in ‘the scene’ of avant/gay NFTs, the launch of @vvvdotso, the minting platform that has become home to many of my favourite collections this year, was possibly the most important moment. A launch pad made by artists, where

@hard_boiledbabe

never shitting on glossy paper again that's my bad

another chemtrail digital painting.

I need a book of every single The Same Old Gag piece.

Reflecting on the year.

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