An interpretation of the Decal by Kjetil Golid. A symbol of permissionless creativity. Series One.

Decal by Kjetil Golid #8

The Decagon is the infinitely evolving, always unique, and eternally open membership token of the Decaverse. Designed by Kjetil Golid.

Decagon #0

Decal #0

An interpretation of the Decal by Reuben Wu. A symbol of permissionless creativity. Series Seven.

Decal by Reuben Wu #0

An interpretation of the Decal by Mannay x A. Marrast. A symbol of permissionless creativity. Series Fifteen.

Decal by Mannay x A. Marrast #0

An interpretation of the Decal by Grant Yun. A symbol of permissionless creativity. Series Two.

Decal by Grant Yun #57

An interpretation of the Decal by tjo. A symbol of permissionless creativity. Series Three.

Decal by tjo #0

An interpretation of the Decal by XCOPY. A symbol of permissionless creativity. Series Ten.

Decal by XCOPY #83

Decal V2

The second Decurator Council. Curating the Most Valuable Galleries in the Decaverse.

Decuration II

The Decurator Council. Curating the Most Valuable Galleries in the Decaverse.

The fourth Decurator Council. Curating the Most Valuable Galleries in the Decaverse.

Decuration IV

Decuration

Most Valuable Gallery

Decal by Grant Yun #72

Decal by Grant Yun

Decal by Mannay x A. Marrast #27

Decal by Mannay x A. Marrast #89

Decal by Mannay x A. Marrast

Decal by Kjetil Golid #25

Decal by Kjetil Golid #57

Decal by Kjetil Golid

An interpretation of the Decal by die with the most likes. A symbol of permissionless creativity. Series Nineteen.

Decal by die with the most likes #60

An interpretation of the Decal by die with the most likes. A symbol of permissionless creativity. Series Nineteen.


Decal by die with the most likes #92

Decal by die with the most likes

An interpretation of the Decal by Studio Yorktown. A symbol of permissionless creativity. Series Twenty.

Decal by Studio Yorktown #48

Decal by Studio Yorktown #98

Decal by Studio Yorktown

An interpretation of the Decal by Haru Komoda. A symbol of permissionless creativity. Series Eleven.

Decal by Haru Komoda #7

Decal SZN2 Series 11. Total: 100 (All unique)

Decal by Haru Komoda #56

Decal by Haru Komoda

An interpretation of the Decal by Rata. A symbol of permissionless creativity. Series Eight.

Decal by Rata #13

Decal by Rata #90

Decal by Rata

An interpretation of the Decal by TOKYOLUV. A symbol of permissionless creativity. Series Twelve.

Decal by TOKYOLUV #38

Decal by TOKYOLUV #41

Decal by TOKYOLUV

Decal by tjo #67

Decal by tjo

Right Click Snapshot #1

Right Click Snapshot

Right Click Share #395

Right Click Share #531

Right Click Share

“Each friend represents a world in us, a world not born until they arrive, and it is only by this meeting that a new world is born.” 

Anais Nin

Growing up my father used to love to say to me: “Edgar, friends are always more important and valuable than money, don’t ever forget that.” It’s a phrase I heard so often that I feel like it’s now become a part of my essence, forever embedded in my DNA. 

It was also one of the first things that was said to me about web3, NFTs, and cryptoart when Sarah Zucker introduced me to them back in 2020. 

Sarah and I agreed to speak for the first time about NFTs and cryptoart on October 19, 2020. I vividly remember Sarah sharing that she felt like I would really resonate with the technology, the communities, and the ethos emerging around them. She also shared that she wanted to invite me into the space so that we could talk as friends about the experience, the process, the evolution, and of course, being friends who love to gab: the GOSSIP, drama, and the possibilities found within this newly forged space. She emphasized that NFTs were really about relationship building and creating connections with artists and collectors. As an artist with an extensive background in creating digitally native and screen based works, who also has a penchant for collaboration, community building, and networking, this invitation definitely piqued my interest. 

By this time Sarah and I had already developed a deeply nourishing, fun, playful, and inspiring friendship. Having collaborated in the past on performance projects, exhibitions, installations, and more, Sarah and I had also found a deep kinship in being able to share about the many ups, downs, and all-arounds that being an artist and a public persona comes with. We had also become each other’s cheerleaders & supporters. I was enamored with Sarah’s visionary gifts, her ability to tell enchanting stories, and her diverse yet complimentary skills as an artist and community leader. 

We had both also connected extensively around the fact that we use social media, the internet, and screen based technologies to share our art and our messages with our communities. Before NFTs, the gems we made were created with the hope that they’d be shared, liked, amplified, and help draw attention to us as artists. It was mind blowing for me to come to understand that NFTs meant that, for the first time in our lives, there was a technology available to us for editioning our artwork and taking control of our artistic futures. With the inclusion of royalties in the contracts, it also meant that we could sell our work with the possibility of being rewarded for our hard work in the future, a revolutionary improvement to the current experience I had been having as an artist with relative success in the traditional art world. 

By the time I entered into the NFT scene in late 2020, I had already had two solo exhibitions at museums in two different states, one in Los Angeles at the Vincent Price Art Museum, and the second at Oregon Contemporary in Portland, Oregon. I was living in Oklahoma at the time finishing up a two year artist residency in Tulsa and had just started attending the University of California, Berkeley’s MFA program in art. It was also months into the pandemic, the Black Lives Matter uprising, and so much more. It was a tumultuos and uncertain time and a time that also felt incredibly mutable and plastic. It felt like the perfect time for me to jump into a new venture and to begin my exploration of this brand new world that had been so generously laid out before me. 

Sarah was kind enough to send over $15 worth of ETH so that I could mint my first artwork. Little did I know that a few months later, minting prices would go up by hundreds and, at times, even thousands of dollars. Thankfully I minted my first NFT about a month after our initial conversation on November 23, 2020 on Rarible. Mutant Key To The Post Internet became my genesis token and was a way for me to claim that I was evolving as an artist and that the Internet was too. We were evolving together. Not only that but this artwork was the first piece I had ever made using both some of my well known collage art as well as some new experimentations in coding and animation. This piece felt very much like a bridge between my past self and the infinite possibilities found in my future mutations. Not only were NFTs giving me a place to edition and share my artwork, they were also giving me permission to explore new technologies and experiment with new ways of creating and existing as an artist. 

I was pleasantly surprised and excited to see some of these editions get collected by artists I respected and saw as pioneers in this brand new world; people I also considered to be my friends. 

I knew that one of the first things I wanted to do with some of the eth I had made from selling these editions was to collect some of Sarah’s artwork. Thankfully, a few days later, on November 27, 2020, I had the perfect opportunity to do so. I saw one of her 10 editions of Vapor Prism available on Known Origin for .18 eth, which was $90 at the time. This artwork felt like the perfect first piece to collect from Sarah. I was enthralled with the piece’s signature colors of blue and pink, and it featured Sarah’s now iconic use of the analog vhs feedback glitch in creating the piece. The neverending loop felt like such a breath of fresh air for me, a world I could live in forever, a new dimension to play in, and the possibility found within the slippery, liminal space of the glitch. Here was the glitch in a form that felt functional and frivolous at the same time. Glitch as dancing bear, glitch as a grinning cheshire cat, glitch as joyous undulating magic that feels both familiar and uncannily new and unknown. This artwork made me feel like I was staring into the abyss of an alien yet eerily welcoming dimension, like I was glimpsing into the future and into the past at the same time. It was also a bridge like my first token, a portal, and a potent spell by a powerful light witch. As an artist who often works with divination and transcendental states in my artwork, this psychedelic vision felt like the perfect first artwork to add to my collection. 

But what felt most important was that I was collecting art by a friend of mine that I loved and that I wanted to see succeed and grow as an artist. I was adding to the story of them becoming a successful person in the cryptoart community and was lucky enough to also be able to be a part of that hxstory too. It brings me so much joy now to be able to share about this with all of you and to be able to share this story of the first NFT I ever collected. The first of what have now become hundreds and hundreds of stories and connections I have made in the cryptoart community. I am cherishing the preciousness of being able to share about this nascent history in this psychedelic, iterative, emergent way. Ever so grateful to Matt Kane for this invitation. A friend that I was fortunate enough to meet through Sarah and who has become a source of constant inspiration and leadership in our rhizomatic and prismatic communities. 


** Addendum **

I am adding another layer to this etch as it feels magical, personal, vulnerable, and I feel is very much in alignment with the ethos & intentions I feel Matt Kane has set out with this amazing project which is historicizing, documenting, contextualizing, and unifying our cryptoart communities using this exciting new process on the blockchain. 

So, a week ago, after seeing Matt Kane post Etch #1, I cried, I got so inspired, and could feel how deeply important this project & process was for our communities. I felt galvanized by Matt’s call to action, showing the world, our collectors, and our artistic communities that what we are doing here is so much more than money. We are creating new structures to hold & care for artists. We are envisioning a world where artists can thrive and share their truths. A world where artists get to have a say in their success, in their journeys, in their stories, and how in the ways we can benefit from them culturally, conceptually, and financially. 

I was so excited to share my first etch and got ready to mint it. And, as I tried to mint it, I realized that I did not have enough ethereum to do so. I had only a few cents left of ethereum after having spent all of it on artwork from other artists. I was forced to pause. 

I decided to reach out to my communities on Twitter and started “shilling” my artwork to them, hoping I’d get a collector to collect an artwork on the ethereum blockchain from me. After a few days of doing this and getting likes & retweets, but no collectors, I felt embarrassed and saddened by the fact that I had not sold art on the ethereum blockchain for months and didn’t have enough money to to mint this etch. 

I turned to some of my “CryptoQueers” friends and shared with them that I was feeling like a “failure” in the cryptoart world for not being able to sell my art and that it was hard to sit with the dissonance it caused me as I have been feeling quite the opposite in my traditional art practice and as a therapist & brujx. These friends kindly and caringly reminded me that this is a challenging time in the market, and that it is a feeling that others were also sharing. It was affirming and validating to know that I was not alone. We also shared that despite this being a challenging time in the space financially, many of us are here because of our connection to each other and our firm belief in what we are building together. 

To challenge this feeling, I decided to re-direct my attention towards the successes I have had in this space and was pleasantly reminded that I had sold one of my most important NFTs this year and, not only that, that I had sold it to none other than Matt Kane. 

I minted the performance art piece Mutant Fire as a part of Playboy & the Sevens Foundation’s exhibition on The Art of Gender and Sexuality. Matt collected it on January 17, 2022. I decided to post about it and to uplift and celebrate this grand achievement. This artwork is about finding your inner fire, embracing your inner freak, and trusting in the power of your magic. It felt so important to revisit this artwork and the spells & intentions I had imbued within it and to see it, again, in Matt Kane’s collection at this moment in my cryptoart career. 

Shortly after posting this, I received an email letting me know that one, then two, then three, four, five, and finally six pieces of mine sold on the tezos blockchain. It felt very much like the Universe responding to my sadness and to my previous statement of feeling like a “failure” during this challenging time in the cryptoart world. 

As if this wasn’t enough, the following day, Matt Kane retweeted my post on Mutant Fire and shared it with SuperRareroses aka SuperRare Zack when he asked: “Who’s not on SuperRare but should be?” 

Zack immediately DMed me and I was almost instantly onboarded onto SuperRare. I am still recovering from the whiplash of this and have been sitting with the meaning behind this brand new possibility in front of me. 

But, the icing on the cake, and the biggest *wink from the Universe* came on the following day after I announced publicly that I had been onboarded onto SuperRare. 

Matt Kane minted Etch #1606

"We believe in our magic. Our magic believes in us."

He made this etch in collaboration with my artwork, Mutant Fire. His words floored me. I felt so seen. I could see how he felt seen in my art. To learn that he has also felt empowered by my spell and that he returns to it and receives the magic that I imbued in it has deeply touched my heart. It’s reminded me that magic is organic, emergent, wild, and uncanny. It will reach out to you in the midst of your darkest and most unsure moments. Magic is real. We are magic. 

Matt was generous and kind enough to not only create this etch, but he also GIFTED this etch to me!!! It’s been a dream of mine to own a work by him and now I have one that he has made that was inspired by MY art! What?!!! 

And then I looked at my wallet and saw that the transfer of this token, somehow, had also transferred ethereum into my wallet and that it was JUST enough for me to be able to mint this etch….. 








Etch #1653

Words that start revolutions. Inspire generations. Make us human.

Now, these words can be etched onchain.

Etch is a powerful platform by Matt Kane and Deca.

Etch #2147

Etch by Matt Kane and Deca

It is our stories that echo, are retold, become adapted by culture and etched into time. You could not have known when you shared your story the wide-sweeping effects it would have then, now, and into the future. I felt your story. I wanted to lift you up by collecting your art that day. I knew what retelling your story could lead to because stories and context matter. 

996 days ago, I scribed to the Ethereum blockchain, encrypted to tx hash   0x58baf56a3125a007cd7d6dcf9aacb78317d8bdd6a132bb9caf315171bd13ed32: "Purchased out of respect, admiration, and appreciation of a great artist. Lawrence shared his story and turned the course of history. https://twitter.com/LawrenceLeeArt/status/1235428946491006976"

Today, I Etch my story of "Pilgrim" by Lawrence Lee as token #1 on this collaborative project I've created with Deca.

I collected the artwork, "Pilgrim," created by Lawrence Lee as an NFT from SuperRare on March 5th 2020. It was the morning after Lawrence shared his story on Twitter. Lawrence had replied to my own tweet in which I openly wished that more artists demonstrated they care about the innovation of secondary sale royalties in smart contracts.

Lawrence wrote: "Now that the secondary market is making me compete with my younger self, the lack of royalties is why I'm still working at 72. If I was receiving only 3-10% on the works being auctioned or sold through other secondary channels, I might actually be able to retire."

Instantly I knew Lawrence had given us a story to galvanize our community and humanize the many reasons artists participating in their own success is fair, right, and important. Lawrence is one of only a few artists who brought with them into the early cryptoart movement a fine arts career which had already spanned multiple decades. He'd already been there and done that, including all the good, bad, and the ugly of being a highly sought after gallery represented artist in the traditional art world. The wisdom Lawrence carries with him has proved priceless. 

In the days after Lawrence shared his story, I created a private Discord and invited about 20 artists to join and discuss what we hoped to achieve in terms of royalties. I'd previously tried stirring our community around the topic several months earlier when I realized SuperRare had dropped royalties from 10% down to 3%. Other platforms were at zero. My earlier attempt to lead a discussion seemed to fall on deaf ears, but with Lawrence's story and my own growing reputation, I felt the time was then and now to charge ahead. 

It was a dark and scary time at the beginning of the pandemic. Markets were crashing, airports were shutting down, employees were staying home, loved ones were getting sick and dying. It was a time of uncertainty and fear to say the least. All the while, a tiny but mighty band of cryptoartists were discussing how embedding royalties within the heart of our culture, now, before NFTs reach mainstream adoption, could transform the future. As cryptoartists, we understood blockchain to be the future of provenance. Striking this precedent on the ground floor of the culture around this new technology, we had an opportunity to change what we knew to be a historical wrong. The traditional art world had long asked artists like Lawrence to dedicate their lifetimes to building a career of exhibition history and reputation, which adds value to their past work, only to not be invited to participate in their own success when that same past work reaches the secondary sales market. All the while, artists are humans. Humans have the unfortunate habit of coming into this world with bodies that progressively break down in the aging process. Indeed, how does a society rectify asking an artist to compete with their younger self in the face of arthritis, cataracts, vision impairment, and any number of age related ailments? 

It wasn't just fear of COVID we were fighting in March of 2020. As digital artists, we had for the first time begun to see decent revenue from sales. A couple hundred, just over a thousand, and on some occasion a couple thousand dollars for our artworks. We were all hopeful we could soon quit our day jobs and make art full time. Any artist's dream! Taking a stand for royalties, on behalf of all artists, we had to be willing to risk the potential of being blacklisted by our collectors, investors, and partner platforms. After much internal discussion, we wrote a letter, ran a community campaign, and asked everyone to join us as allies in "creating this new art movement." Long story short, it wasn't just the artists who were interested in making this paradigm shift a real paradigm shift. For all of us in those days, it was a solid paradigm shift, not simply a hollow marketing phrase for VCs or investors to use in order to pump their bags. Artists, collectors, investors, and all the art NFT platforms got on board with adding artist royalties to our smart contracts. Artists now and into the future would participate in their own success and the value add they create by pushing ahead in their lives and careers as artists.

Many who have joined the space since early 2020 do not remember or appreciate that there was a time when NFT platforms did not offer royalties. Those of us here long enough remember when this was different. As someone who is often cited for leading this group in March of 2020, I must admit that it's doubtful I'd have lead any group or otherwise have success doing so without Lawrence sharing his story when he did. That's the power of sharing our stories and being in the right place at the right time.  

This artwork, "Pilgrim," was collected by me because I knew the power of Lawrence's words. Of all of Lawrence's work I had to choose from at the time, this piece echoed his story. One of mortality and morality. His image of a stylishly dressed skeleton  made me think of the powerful spirits that live within artists, all while these bodies we inhabit break down to eventually only remain as skeletons. As an artist who over a decade earlier abandoned a traditional art world I felt to be corrupt, only to find myself now at the heart of the cryptoart movement, perhaps I too am a sort of pilgrim? I love this painting by Lawrence. 

Today, as I Etch this story, discussion on Twitter suggests royalties are in danger. But royalties are not what I'm afraid we're in danger of losing. Our culture is in danger. In danger is the promise of our children being born into a more just world which values the humanity and contributions of all players. In danger is respecting the difference between a marketer and an artist. In danger is the integrity of this generation, of this technology, of this art movement. In danger is the very ethos of crypto which values the good of the many over the profit of the few. In danger is understanding the real value behind a borderless, censorship resistant technology. 

As the cryptoart movement innovated technology and finance, it also created and transformed culture. Lawrence was a key contributor to achieving the royalty standard across NFT platforms that artists receive secondary sale royalties through smart contract automation. The effect has been families of artists during a global pandemic thriving when they otherwise may have struggled. The effect has been a global awakening to all that continuing this paradigm shift as a real paradigm shift can have for the good of the many. The debate over whether artists deserve to participate in their own success has become a truth within our hearts now. For me, these changes begin with the power of Lawrence's story and the power of story telling and contextualization in general. For as much as these technologies change the world, the lone technology requiring change and networking is the human heart. 

I am grateful for you Lawrence. I'm blessed to know you as a colleague and a friend. It is my hope that many more than just me will want to lift you up, just as you and your story lifted so many of us up. Thank you Lawrence. 


Lift #21

Lift #1087

Lift by Matt Kane and Deca

An interpretation of the Decal by Bryan Brinkman. A symbol of permissionless creativity. Series Five.

Decal by Bryan Brinkman #18

Decal by Bryan Brinkman #38

Decal by Bryan Brinkman

Decal by XCOPY #20

Decal by XCOPY

An interpretation of the Decal by Rich Caldwell. A symbol of permissionless creativity. Series Four.

Decal by Rich Caldwell #93

Decal by Rich Caldwell #45

Decal by Rich Caldwell

An interpretation of the Decal by Jerad Armijo. A symbol of permissionless creativity. Series Six.

Decal by Jerad Armijo #34

Decal by Jerad Armijo #18

Decal by Jerad Armijo

Decal by Reuben Wu #25

Decal by Reuben Wu #57

Decal by Reuben Wu

An interpretation of the Decal by TJ Thorne. A symbol of permissionless creativity. Series Nine.

Decal by TJ Thorne #96

Decal by TJ Thorne #1

Decal by TJ Thorne

An interpretation of the Decal by Keiko Kitahara. A symbol of permissionless creativity. Series Thirteen.

Decal by Keiko Kitahara #2

Decal by Keiko Kitahara #87

Decal by Keiko Kitahara

An interpretation of the Decal by AD_AD. A symbol of permissionless creativity. Series Fourteen.

Decal by AD_AD #94

Decal by AD_AD #44

Decal by AD_AD

An interpretation of the Decal by Darkfarms. A symbol of permissionless creativity. Series Sixteen.

Decal by Darkfarms #76

Decal by Darkfarms #91

Decal by Darkfarms

An interpretation of the Decal by postwook. A symbol of permissionless creativity. Series Seventeen.

Decal by postwook #9

Decal by postwook #6

Decal by postwook

An interpretation of the Decal by Three Panel Crimes. A symbol of permissionless creativity. Series Eighteen.

Decal by Three Panel Crimes #70

Decal by Three Panel Crimes #3

Decal by Three Panel Crimes

An interpretation of the Decal by Andrew Mitchell. A symbol of permissionless creativity. Series Twenty One.

Decal by Andrew Mitchell #9

Decal by Andrew Mitchell #63

Decal by Andrew Mitchell

An interpretation of the Decal by Looooopable. A symbol of permissionless creativity. Series Twenty Three.

Decal by Looooopable #66

Decal by Looooopable #79

Decal by Looooopable

An interpretation of the Decal by Panter Xhita. A symbol of permissionless creativity. Series Twenty Two.

Decal by Panter Xhita #95

Decal by Panter Xhita #19

Decal by Panter Xhita

An interpretation of the Decal by Gabriella Morton. A symbol of permissionless creativity. Series Twenty Four.

Decal by Gabriella Morton #88

Decal by Gabriella Morton #83

Decal by Gabriella Morton

An interpretation of the Decal by Andy Shaw. A symbol of permissionless creativity. Series Twenty Five.

Decal by Andy Shaw #37

Decal by Andy Shaw #38

Decal by Andy Shaw

An interpretation of the Decal by Michael Connolly. A symbol of permissionless creativity. Series Twenty Six.

Decal by Michael Connolly #1

Decal by Michael Connolly #96

Decal by Michael Connolly

The Octagon represents membership and achievements in the Decaverse. As you explore, your Octagon levels up and unlocks new utilities in the expanding Decaverse.

Octagon #26128

The Octagon represents membership and achievements in the Decaverse. As you explore, your Octagon levels up and unlocks new utilities in the expanding Decaverse. You can mint for free (minus gas) at deca.art/octagon

Octagon #29652

Octagon by Deca

A digital poster edition of memetrix by batzdu.

memetrix by Deca

A digital poster edition of death#4 by darkfarms1. Poster created by @7174n1um.

death#4 by 7174n1um

Posters

An interpretation of the Decal by Hafftka. A symbol of permissionless creativity. Series Twenty Seven.

Decal by Hafftka #92

An interpretation of the Decal by Hafftka. A symbol of permissionless creativity. Series Twenty-Seven.

Decal by Hafftka #74

Decal by Hafftka

An interpretation of the Decal by Noealz. A symbol of permissionless creativity. Series Twenty Eight.

Decal by Noealz #3

Decal by Noealz #74

Decal by Noealz

An interpretation of the Decal by Naime. A symbol of permissionless creativity. Series Twenty Nine.

Decal by Naime #19

Decal by Naime #8

Decal by Naime

An interpretation of the Decal by Zancan. A symbol of permissionless creativity. Series Thirty.

Decal by Zancan #58

Decal by Zancan #25

Decal by Zancan

An interpretation of the Decal by the Community. A symbol of permissionless creativity. Series Thirty One.

Decal by the Community #25

A Hundred Interpretations of the Decal by the Community. A symbol of permissionless creativity. Series Thirty-One.

Decal by the Community #70

Decal by the Community

An interpretation of the Decal by Peter Nitsch. A symbol of permissionless creativity. Series Thirty Two.

Decal by Peter Nitsch #71

Decal by Peter Nitsch #46

Decal by Peter Nitsch

An interpretation of the Decal by Khwampa. A symbol of permissionless creativity. Series Thirty Three.

Decal by Khwampa #43

Decal by Khwampa #20

Decal by Khwampa

An interpretation of the Decal by Jarvinart. A symbol of permissionless creativity. Series Thirty Four.

Decal by Jarvinart #2

Decal by Jarvinart #70

Decal by Jarvinart

An interpretation of the Decal by WILLARD. A symbol of permissionless creativity. Series Thirty Six.

Decal by WILLARD #49

Decal by WILLARD #91

Decal by WILLARD

Right Click Snapshot #2

Right Click Snapshot II

An interpretation of the Decal by P1A. A symbol of permissionless creativity. Series Thirty Seven.

Decal by P1A #30

Decal by P1A #56

Decal by P1A

An interpretation of the Decal by Giulio Aprin. A symbol of permissionless creativity. Series Thirty Eight.

Decal by Giulio Aprin #76

An interpretation of the Decal by Giulio Aprin. A symbol of permissionless creativity. Series Thirty-Eight.

Decal by Giulio Aprin #41

Decal by Giulio Aprin

An interpretation of the Decal by pobedeen & Il'ya Zhura. A symbol of permissionless creativity. Series Thirty Nine.

Decal by pobedeen & Il'ya Zhura #16

An interpretation of the Decal by pobedeen & Il'ya Zhura. A symbol of permissionless creativity. Series Thirty-Nine.

Decal by pobedeen & Il'ya Zhura #40

Decal by pobedeen & Il'ya Zhura

An interpretation of the Decal by Rebecca Rose. A symbol of permissionless creativity. Series Forty.

Deca

Deca

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