How I got here

People get the order wrong, so let me start at the actual beginning.

Art was always here

I have loved art my whole life. I took art classes in high school and art history in college. My grandpa painted for fun. Any time I landed in a big city I went and found the museum. Basquiat, Monet, Manet, Chagall, those are the ones I keep coming back to. The crypto came second. That matters, because everything else on this page only makes sense if you know the art was here first.

Bitcoin, 2013

I found Bitcoin on Reddit when I was around eighteen. It was not long after the 2008 crash, and a currency the banks did not run made sense to a millennial who already lived his whole life on the internet. I bought some and mostly held. I watched it run to a thousand dollars and fall back to a hundred, and I held through that too. I am a statistics and economics guy by training and a data scientist by trade, so the swings never scared me the way they scare most people. HODL was never a meme to me. It was just the plan.

2017, and one CryptoKitty

In 2017 I moved a lot into Ethereum. That is the year everyone remembers for NFTs, and I was right there for it. I minted exactly one CryptoKitty, and then I stopped. CryptoPunks came. Bored Apes came. Justin Bieber paid over a million dollars for a cartoon monkey. I looked at all of it and felt nothing, so I closed the tab and went back to holding coins.

Here is the part I have to be honest about, because it is the whole reason this gallery exists. It was never that I did not understand it. I knew the technology better than most of the people arguing about it, a token is just a way to make a digital thing scarce and yours, and I had known that for years. I simply did not like the art. A pixel avatar you buy to flex is not a thing I wanted on my wall, whatever it was worth. So I walked away. I did it in 2017. I did it again through the 2021 mania, while people made and lost fortunes on pictures I felt nothing about. I let a decade of bad art convince me the whole idea was empty. I was wrong about that, but it would take me years to find out.

Always a gamer

The other half of me is a gamer, and always has been. I played World of Warcraft as a kid, back in Burning Crusade, and I never really left it. In 2022, in the deep of a crypto bear market, I was back in WoW Classic while Ethereum touched four thousand dollars and I sat on my hands. Games and crypto were never separate lanes for me. A game is just another world with an economy, and I had been living in worlds like that since I was small. So when games started putting real ownership on-chain, of course I walked in.

The ad

January 2024. I see an ad for Blocklords, a medieval strategy game where the heroes are NFTs. I had been in crypto for a decade and never actually played any of it. My first hero was Bjorn Running, bought for 6.8 ETH straight off the website. A total noob move, and there is video of me doing it.

The people

What the games actually gave me was people. Through Blocklords I met TomTomTom, who became a real friend and made half the memes that got me through it. Two of his works hang in this gallery now. That is the pattern that never changed: the token is just how you meet the person.

The crown

I took it seriously and got good, one of the strongest accounts in the game. I joined Season 1 late and still clawed to the top, and in Season 2 I won the whole thing. It was an upset over forrest fyre, one of the big names, and the truth is he was cheating. I proved it the only way a stats guy knows how, with a spreadsheet, working out how many hours a day he would have had to play to have done what he claimed. They gave me a crown for it, Bjorn, running through the later season. I held the best region in the game and named its lady Patricia. She later sold for 2 ETH.

Web3Long

Then I started a guild, Web3Long. Read it however you like. I always liked that it also says we belong. We flew our flag across four games, and I still hold the ground to prove it.

When the culture curdled

Here is the part that actually taught me something. The games failed, most of them. Utility that was worth money one month was worth nothing the next. A player I had trusted for a long time, one of my own guild, stole from me. The game would have died anyway, but that one stung more than the money did. And the guild I had built started to turn. It became fights and chat contests and grind contests, everything pointed at some token reward and none of it fun. Most web3 games extract and fail, and the winners you hear about are survivorship bias.

So I was right about NFTs, and I was also wrong. Right that the utility was mostly a trap. Wrong to think that made the whole idea empty. The real lesson was never about tokens. It was culture. Culture is the thing that makes or breaks any of this, and the culture of crypto gaming had gone rotten. I loved owning something real on-chain. I could not stand what the room had become. So I left.

The turn

A Michael Saylor talk and a few Raoul Pal posts put a new idea in my head: art as an investment in an AI, post-scarcity world. It lined up with something a lifetime of museums had already taught me, that art is the thing that lasts. June 2025, I am in Thailand, and an old guildmate messages me about an artist named DeltaSauce releasing a project called FEED. I open it and it hits different. My first real art buy is the grid. June 18, 2025. This time the tab stayed open.

Same wallets, new reason

Same wallets. Same rails. A completely different reason to be here. What pulled me in was not the technology, I had held the technology for ten years. It was that the art was finally good, and the room was finally one I wanted to be in. The token is how you meet the person, and this time the people were artists. The Timeline picks up the moment the art starts.

The year it became a collection

What followed the grid was a year I did not plan. Daily drops turned into daily habits. I followed auctions the way I used to follow raid timers, bid on polaroids at two in the morning, swept quiet floors on weekends, and told the timeline about all of it. Somewhere in there the word for what I was doing changed. A wallet full of art is a pile. What I wanted was a collection, which is a pile with a spine.

The spine arrived in July 2026. In one week I moved everything, close to seven hundred pieces that had been living in my trading wallet, into the vault for good. The archive behind this site doubled in days. Whole new rooms appeared, an Art Blocks wing grew out of nowhere, and the site you are reading had to learn to carry it. Moving a collection into a vault sounds like paperwork. It did not feel like paperwork. It felt like hanging the show.

Four chains and a confession

For a long time this site said everything here lived on Ethereum, and for a long time that was true. Then the archive got better at looking, and it turned out I had art scattered further than I remembered. Painted days on Base. A land deed on Polygon from the guild years. And on a newer chain called Abstract, fifteen paintings I had made myself in an AI app called Neura during that first collecting year, then more or less forgotten. Pulling my own early paintings back into my own archive, and finding a few pieces I had written off as junk were real art misfiled on the wrong chain, taught me the lesson this whole place runs on. The chain always knew. You just have to ask it properly.

What this is now

Seventeen hundred works. Four hundred artists. Four chains, honestly labeled. Every original pulled from the source the artist declared, checked, and kept on storage I control, because the token is permanent and the art, left alone, is not. I came into this world for a coin, stayed a decade for no good reason, got good at a game, watched its culture rot, and walked out the other side into the only corner of crypto I have ever actually loved. The museum was the plan all along. It just took me ten years to notice I was building one.