MINTFACE TOKENIZED ART

2021 - 2025

MINTFACE ART PROVENANCE

All artworks are tokenized on blockchains. Tokens create art ownership rights.Rights are transferrable between counterparties without needing a gallery.Tokenized art represents a significant innovation in how works are created, catalog'ed and traded.

MINTFACE | ARTIFICIAL FLOWERS 2025

hand-painted flowers bloom in liminal space.painting / AI / AR
22x 1/1s
view on opensea↗

MINTFACE | PATRIMORA 2025

Patrimora replays the delayed attempts of presence.generative art
1/1/469 editions
minting at patrimora.com↗

MINTFACE | TWO BURDENS 2024

The inner and outer burdens we all carry.painting
36x 1/1s
view on twoburdens.com↗

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Rights are for the untokenized.

MINTFACE | ARTIFICIAL FLOWERS 2025

hand-painted flowers that bloom in liminal space.painting / AI / AR
22x 1/1s
view on opensea↗

painting
artist paintings as source material for AI

artificial flowers shows optimism in an AI prompted future, while also signalling a potential loss of creative autonomy, as AI becomes a collaborative partner. each artificial flower was painted until I was happy the work was finished... then asked AI to show what it saw, using the painting as its source material.AI handed back its vision for the finality of piece, which is then tokenized on the Ethereum blockchain for animation permanence. collectors acquired the final digital work, that fuse both the hand painted flowers by MintFace with the artistic aspirations of large language models.the physical painting 'source material' becomes a trigger for the tokenized artwork to play. viewers standing in front of the painting experience both the artists work and AI's work simultaneously, comparing and contrasting the two, in an attempt to decide who is the student and who is the master.

MINTFACE | TWO BURDENS 2024

The inner and outer burdens we all carry.painting
36x 1/1s
view on twoburdens.com↗

two burdens borrows the subtractive process involved in the pixels of recursive mind (2023), and applies it to painting. the surface is worked over and over, adding, subtracting, adding, subtracting, until an intensity presents itself.I was deeply influenced by richter's later works with one key difference. richter sought to remove all human involvement through his mechanical left to right squeegee application. My mindset is more active than indifferent during the application and thus there is intermediation between thought and application of the paint.paintings were acquired by collectors around the world via NFTs that allowed their owners to optionally claim the physical painting. many of these works are now hanging on the walls of collectoors in Spain, Belgium, Switzerland, Australia and USA.two burdens exhibition was debuted at NFT NYC 2024 and now is exhibited at the line in New Zealand

MINTFACE | PATRIMORA 2025

Patrimora replays the delayed attempts of presence.generative art
1/1/469 editions
minting at patrimora.com↗

patrimora is inspired by 'senbazuru' 千羽鶴, the folding of 1000 origami cranes. sadako sasaki, a child survivor of hiroshima attempted the feat before dying of leukaemia. the story stayed with me from primary school. I wanted to memorialise my son (tricksta) growing up without a father, through the motif of cranes...often thought to be a symbol of long life.the name of the collection is 'patrimora'; a word mintface coined to mean 'a legacy or inheritance that is delayed in its realization, often due to historical, cultural, or generational factors.'

MINTFACE | RECURSIVE MIND 2023

endless thought patterns looping to infinity.illustration in photoshop
13x 1/1s
view on rrrecursive.com↗ or gamma↗

recursive mind pushes pixels until they break. what remains becomes the art. each work is a study in deletion, in removal and sitting with with is left. there is a kind of peace in exploring what's left after the pressure subsides.no ai, all hand drawn in photoshop, a tool I have used almost non stop since I was 13. recursive mind sat in a folder for two years from 2023 until 2025, before I decided to inscribe them as ordinals on the bitcoin blockchain. an extraordinarily expensive endeavour that guarantees the art's longevity in line with Bitcoin's longevity.

roads and rivers breaks free of the single location constraint that was imposed in creating the geodetic moments collection. initially, the plan was to photograph geodetic markers throughout new zealand as further location markers for my son to find me through. geodetic markers are symbolic to only new zealand. however the locations of these around the country turned out to often be in remote places, private property and I decided to broaden the creative concept.the idea of treasure and 'x marks the spot' came to mind and the aerial cross section of a road and river seemed like the ideal aesthetic to speak the concept into life. I got in my car and drove around the north island of new zealand, photographing the bridges that I knew would look great, along with many more that were discovered along the way. Post pandemic there was little traffic and it felt absolutely freeing after being locked up for so long.the collection was exhibited at the line in September 2025 and featured in the nz herald. 7 of the 36 bridges photographed in the series were washed away in a cyclone in february 2023. the collection sparked many conversations about the memories people had of crossing the bridges, where they were going, who they were seeing and why it mattered.

geodetic moments is a study of a single location at the end of 2021 to express my own mental state (ie: looking forwards, looking backwards) at the time through NFT metadata. it was post the pandemic, I felt stuck, aimless, yet fully plugged in to the NFT crypto scene.at the same time, I wanted to create a record on the blockchain of my physical location during that period of time, that one day in the future, my son Joseph could find and perhaps go looking for. if he could find the geodetic marker, he could probably find me.I wanted to get back to taking photographs for the pleasure of it, and pull myself up by my own bootstraps. Each day I would walk up pukekura hill at various times of the day and night. after taking a photograph, I recorded the direction faced, the time of day and notable objects. I would then go back home and mint the photograph along with the metadata of the visit that became traits for the photograph. these traits became searchable within the collection; a new phenomenon with nfts in 2021.creating a collection of 100 was inspired from two sources. justin aversano's twin flame collection, that became the standard collection size many photographers copied; and secondly, the 100 interviews I produced to research and publish 100% Kiwi Business.

MINTFACE | GEODETIC HOME 2025

cultural object, co-signed by gallery visitors.paint on timber sculpture
15 editions
view on opensea↗ | SOLD OUT

geodetic sculpture was exhibited on the opening of the line gallery in may 2025. visitors were invited to mark make on the sculpture. over the weeks of the exhibition, signatures were added, and art drawn directly on to the pillars and panels of the sculpture.visitors would feel comfortable standing around the sculpture, in a similar way to pausing at a New Zealand summit, where geodetic markers are often present. new conversations were had. I got a fresh understanding of who the community was, and everyone got introduced to more art.signatures varied from frens, family, mayor hopefuls, kids after school, officer of the court, tattoo artist, gang affiliates, a chef, tourists, farmers, security officers, businesspeople and fellow artists.in a time where algorithms divide, the geodetic sculpture brought people together on a single surface and reminded us how to speak in person again.

ROADS & RIVERS EXHIBITION (SEP 2025)

Roads are for travelling. Rivers go with the flow. When the two overlap, you get to decide which way you go.photography
36x 1/1s
view on opensea↗ | SOLD OUT

GEODETIC SCULPTURE EXHIBITION (JUL 2025)

cultural artifact, co-signed by gallery visitors.paint on timber sculpture
15 editions
view on opensea↗ | SOLD OUT