Opentitled

Context

Opentitled was not born as a collection. It was born as an experiment.

It is an art system that uses the blockchain not as a showcase, but as record, evolution and history. Each phase was designed to stand on its own, and also as part of a larger cycle.

What I did

I was the artist and creator of the project, on my own, from end to end: from the idea to the contract, from the three collections to the exhibitions.

The system has three phases: the Untitled Edition, the Opentitled and the The Opentitled.

Untitled Edition

The first phase was the Untitled Edition, with 147 identical pieces, on the ERC-721 standard, all sharing the same visual base. It started from a post on X, after a first draft.

There was no rarity. There was no aesthetic differentiation. There was no future promise. The works were given away for free. Whoever arrived first, collected. Whoever arrived later, missed out.

After it sold out, the works began circulating on the secondary market, among people who saw value in that first record. The logic was simple: exist, register, begin.

On-chain record: Untitled Edition collection · contract · Polygon · ERC-721

Opentitled

The second phase introduced an on-chain burn system, explained in this post on X. Whoever held 3 pieces of the Untitled Edition could choose to burn them to redeem a new work: the Opentitled. The contract was built to accept 49 pieces, in five variants: Neutral (20), Gradient (10), Background (8), Minimal (6) and Unique (5).

The new pieces were unique, visually distinct and a direct result of the on-chain burn. It was not a purchase. It was not a paid upgrade. It was transformation. The redemption was free and, once again, whoever arrived later missed out. The point was to make clear that value can also come from the act of letting go.

On-chain record: Opentitled collection · contract · Polygon · ERC-721

The Opentitled

The third phase changed the pace. The Opentitled was created directly on the Ethereum blockchain, with 7 units. There was no free distribution: the works were put up for sale. The idea was not to scale, it was to concentrate. Fewer pieces. More intent. More time involved.

On-chain record: contract · Ethereum · ERC-721

From digital to physical

One of the Opentitled works crossed over from the digital. It was turned into a physical piece, printed in fine art, fully faithful to the on-chain version. It came to occupy physical space. It exists. It stays. The NFT became an object.

Exhibitions

The works were also shown physically and in the metaverse.

Casa NUA, in São Paulo, from 12 to 15 October 2023 (post on X). The works were presented on TV panels, as permanent screens. It was not a simulation or a reproduction: it was the digital file shown as it is.

Zeitls Gallery/Art Fusion, on 28 August 2023, at 8PM UTC, in the Oncyber metaverse.

NFT NYC, from 3 to 5 April 2024, at 8PM UTC (post on X). The collection was part of an international exhibition, reinforcing the project as digital art that does not depend on physical borders.

Result

182 pieces were minted across three collections: 147 in the Untitled Edition, 28 in the Opentitled and 7 in The Opentitled. Of the 147 from the first phase, 84 were burned to redeem the 28 of the second. The logic allowed for 49 pieces in the second phase, and 28 were redeemed. As of 29 September 2026, 55 distinct wallets held pieces from the project.

The value of the project is in time: the time since creation, the time recorded on the blockchain, the time between transformations, the time the work keeps existing. Some pieces were free, others were for sale, others never circulated. None of that changes the essential. The work exists, the record remains, the history is on-chain.

On-chain record: contract creation transaction · Polygon

The pieces stay on-chain with their owners. The work left the digital and gained a physical presence in Brazil, at Casa NUA, and abroad, at NFT NYC.

Sources and further reading