NFTs first appeared in a three-story brick building in Williamsburg, Brooklyn, last year. The murals, found near the intersection of Grand and Roe bling Streets, are the work of an artist named Massah. Each is an honestly redesigned commission from the token holder. There are about 60 in total, and many more on the way, which serve as a tangible manifestation of NFT growth.
Masnah was amazed to see how many graffiti artists were selling NFT versions of their work - and how few were trying to bring NFT artwork to the streets.
"I wanted to get closer to the NFTs on the graffiti side," he recalls, "because all the big names in the paintings were producing translations of their drawings as NFTs."
He started collecting commissions after discussing a vision for the Crypto Punks team. "Isn't it true that graffiti can be found on every street corner?" He is alive. He says it is part of the public sphere. "I thought doing this in a visible place would be a good idea."
NFT owners were full of money that summer, and many were eager to pay to see their profile pictures printed. Mass ah soon found himself with a host of commission requests, so many that he began to keep them all in one place: the Roe bling residence. The owner of the building supported the project, even putting anti-graffiti on the paintings to prevent them from being marked.
Meanwhile, commissions continued to pour in. Getting a position on the wall was a combination of flexibility and investment for NFT owners. “The owners of these goods have realized the value of my street art,” explains Mass Nah. "If I took a picture, it would have attracted Twitter attention that day."
Mass ah finally put his commission plan on the blockchain. He started his NFT collection, called "Another Flex on the Wall," after strengthening it several times. To post a painting on the wall, token owners purchase a single Masnah token brick, which ranges from 1 ETH to 2.5 ETH depending on the size of the painting. The mural is also connected back to the original token in the blockchain.
“The first collection of graffiti on-chain. Before the NFTs, you could not own graffiti. You got these photos from [famous photographers] Martha Cooper and Henry Chalfant, who recorded the text and took these famous trains. Their pictures cost a lot of money but the guy who painted the train, his work is not even on the market. He will never get fame for that. So with this technology, as street artists, we can manage that wall. ”
NFT owners were full of money that summer, and many were eager to pay to see their profile pictures printed. Masnah soon found himself with a plethora of commission applications, so many that he began to keep them all in one place: Roe bling residence. The owner of the building supported the project, even putting anti-graffiti on the paintings to prevent them from being marked.
Meanwhile, commissions continued to pour in. Getting a position on the wall was a combination of flexibility and investment for NFT owners. "The owners of these items have realized the value of my street paint," explains Masnah. "If I took a picture, it would have attracted Twitter attention that day."
Mass ah finally put his commission plan on the blockchain. He started his NFT collection, called "Another Flex on the Wall," after strengthening it several times. To post a painting on the wall, token owners purchase a single Masnah token brick, which ranges from 1 ETH to 2.5 ETH depending on the size of the painting. The mural is also connected back to the original token in the blockchain.
"The first collection of graffiti in the series." You could not own graffiti before NFTs. You got these photos from [famous photographers] Martha Cooper and Henry Chalfant, who photographed the trains and wrote the text. Their paintings are very important, yet the work of the trained artist is not even shown.
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