I won Rise of the Immortals on SuperRare on the twentieth of September, 2025, and posted about it before the auction glow had worn off: Really so much detail and beauty. And even a hidden clue for the future, can you find it? I still look for the clue. That is the thing about a 1dontknows picture. It is built out of paintings you half recognize, and it rewards you for staring the way the originals did, with a detail in a corner that changes the story.

Not from an art school

This September he sent me his story in his own words, and it is not the one you would guess. He studied Humanities, focusing on foreign languages. Around 2019 he decided to try something outside what he had been doing, applied for a graphic design job in Thailand, and taught himself the rest. Most of what I know came from experimenting, practicing, and figuring things out on my own. Then COVID cut the team and he was one of the people who lost his job. In 2021 a friend mentioned NFTs. He had been making pictures for fun the whole time, so he put some online to see what happened. Some of the works actually sold, which honestly surprised me. A hobby became a career, and he has been a full-time artist since.

I collect a lot of people who came to this sideways. It is one of the things I like most about the scene. The credential is the work.

Bosch meets the public domain

His method is exactly what it looks like once he explains it. He loves the Renaissance, the Baroque, and the Neoclassical for the way they tell stories through composition and expression and small details, and he loves the Surrealists, Bosch and Magritte and Dalí, for the freedom. His work is where those two loves meet. He starts with public-domain paintings, the old masters, and rebuilds them: changes the composition, combines canvases, removes things, adds things, keeps going until a new scene makes sense. Sometimes the result feels beautiful, sometimes strange, and sometimes a little dark. I think that contrast is something I naturally enjoy.

He is honest about the tools, too, which I respect. AI is not how the pictures get made. It is what he reaches for when one specific element does not exist anywhere, generated, then edited and collaged in like everything else. And he still loves the still image over the animated one: There is something interesting about showing just one frozen moment and letting people imagine what happened before or what might happen next.

Echoes of Self

Not every piece is a costume drama. Some periods, he says, lead to darker and more personal work, made while trying to understand himself or a feeling, and the feeling ends up in the picture whether he planned it or not. His Echoes of Self collection is the clearest case: identity looked at from different angles, different versions of the same person. Other times the seed is a song, a poem, a film, and he does not want to illustrate it so much as take the feeling and build a new story around it. I like leaving some space for the viewer to make their own interpretation. That is the clue, probably. He leaves one in every picture on purpose.

Three doors into one room

Three of his works hang here, and they came through three different doors, which is a small map of how this whole collection works. Rise of the Immortals was the auction. The last breath arrived from the artist a few weeks later, unasked. I bloom in silence I minted on Manifold in November, one of an edition of seventy. Since going full time his work has shown in Thailand, the US, the UK, France, Switzerland, and Turkey, at NFTNYC, Art Basel Miami, and Sotheby's, and he says the part he finds most interesting is how unexpected the whole journey has been. Me too. His full statement is on his room, in his own words, and it is worth the read.