“In the weeds, repetition is a revolution.”

— Eric Paul Rhodes

Welcome to the WeedsThe Weeds are my first Trash Art series and ended up spawning two more editions. This is a commentary celebrating the innovation and beauty found in the weeds of crypto art. The first edition features glitched fruits, flowers, and plants. The second edition features seven impressionists. And the third edition features seminal moments in trash art history.View the Collection

Where innovation and creation occurred long before some capitalists came by and tried to muck it all up.

The definition of weeds is any plant that grows where you don’t want it to grow. Before gardens were curated, buds nipped, trees pruned, and fruit genetically enhanced it was all just wild beauty. There were no weeds.

Now, don’t get me wrong. A curated garden is beautiful. Pruned rose bushes or gorgeous gords look great on porches. But let’s not forget that the creation and discovery of the plants started in the weeds and still occurs “in the weeds.”

Someone called the dark corners of the crypto art world “the weeds,” which seems to me that this person wants to sully the beauty that exists there simply because they have no control over it.

Trash artists know that the weeds are where innovation and new ideas develop. Then over time some capitalist discovers them, prunes them, and tries to turn them into perfectly obedient doers. But trash artists are wild by nature. You can’t contain a trash artist. Just like you can’t really control plants. You can only hold on to a small piece of who they were.

First Edition

The first edition celebrates the idea that before gardens were curated, buds nipped, trees pruned, and fruit genetically enhanced it was all just wild beauty.

Second Edition

The second edition is a reminder to gatekeepers that art history is repeating itself. It celebrates the organizers and some participants in the first impressionist exhibition.

Third Edition

The third edition is an open-ended series that will capture the memes, themes, moments, and people that are challenging the status quo crypto art.

View the Collection on OpenSea

The Weeds: In More Detail

First Edition

The first edition of THE WEEDS celebrates being in the weeds of crypto art.

So, welcome to the weeds. Where innovation and creation occurred long before some capitalists came by and tried to muck it all up.

Now, don’t get me wrong. a curated garden is beautiful. Pruned rose bushes are gorgeous. Gords look great on porches in October. But let’s not forget that the creation and discovery of the plants started in the weeds and still occurs “in the weeds.”

However, if someone called the dark corners of the crypto art world “the weeds,” then it seems to me that this person wants to sully the beauty that exists there simply because they have no control over it. But artists know that the weeds are where innovation and new ideas develop. Then over time some capitalist discovers them, prunes them, and tries to turn them into perfectly obedient doers.

But artists are wild by nature. You can’t contain an artist. Just like you can’t really control plants. You can only hold on to a small piece of who they were.

View the Collection on Rarible

Loti are Leaves

Oranges are Weeds

Corn are Weeds

Tulips are Weeds

Roses are Weeds

Poppies are Weeds

Sunflowers are Weeds

Dasies are Weeds

Bird-of-paradise are Weeds

Lillies are Weeds

Pumpkins are Weeds

Tomatoes are Weeds

Ferns are Weeds

Raspberries are Weeds

Forget-me-nots are Weeds

Lavendars are Weeds

Second Edition

The second edition of THE WEEDS celebrates the organizers and some participants in the first impressionist exhibition that took place from April 15–May 15, 1874.

It was organized by a group of artists who called themselves the Anonymous Society of Painters, Sculptors, Printmakers, Etc., and showed the radical work of Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Edgar Degas, and Mademoiselle Berthe Morisot, among others.

At the time these artists were not well-known within the Paris art world. They were the weeds that challenged the perfectly curated gardens of the gatekeepers (i.e., salons, academies, and galleries) with their newfound understanding of science, color theory, and natural light.

We are once again at a similar point in the art world where the establishment, whales, and platforms are challenged by a group of artists with their newfound understanding of technology, copyright, and provenance.

In the same tongue-in-cheek manner that impressionists were given their name, the trash artists take their name from supporters of the establishment who deemed creations by artists like Robness and Max Osiris to be #trashart.

This second edition is a gentle reminder to these “gatekeepers” that art history repeats itself. no one remembers the names of the gatekeepers from the salons, galleries, and academic institutions. but impressionism became modern art and continues to inspire us today.

View the Collection on OpenSea

Claude Monet

Alfred Sisley

Edgar Degas

Auguste Renoir

Mademoiselle Berthe Morisot

Paul Cézanne

Third Edition

The third edition of The Weeds is an open-ended series that will capture the memes, themes, moments, and people that are challenging the status quo in the decentralized art space. This edition intends to be a historical account of the trash art movement as told in a series of images.

Aesthetically I am drawn to the beauty of repetition and the exploration of unintentional patterns. similarly, I am drawn to the trash art conversation where ideas spread fast and are explored with reckless abandon.

In the weeds, repetition is a revolution.

View the Collection on OpenSea