Who is XCOPY?
XCOPY, an anonymous London-based artist, has become one of the most influential names in digital art and NFTs. Since 2010, he has explored digital art using platforms like Tumblr, developing a distinctive style centered on visual glitches and dystopian themes. XCOPY successfully capitalized on the emergence of blockchain technology to tokenize his works, thereby transforming the digital art landscape.
The Beginnings of XCOPY: From Tumblr to NFTs
Artistic Exploration on Tumblr
Before the rise of NFTs, XCOPY used Tumblr as his primary platform for sharing his works. Since 2010, he has regularly posted glitchy GIFs, exploring digital distortions and color saturation. Through these early creations, XCOPY tackled postmodern and critical themes, blending absurdity, alienation, and dystopia. Tumblr, as an accessible platform conducive to the rapid dissemination of digital works, played a central role in establishing his artistic identity. XCOPY posted almost continuously for over ten years, building a loyal audience eager to engage with his visual explorations.
However, Tumblr did not allow for direct monetization or certification of works. This limitation pushed XCOPY to seek other ways to value his art, ultimately leading him to embrace blockchain technology.
The First Sales on ascribe.io and First Supper
In 2018, XCOPY explored the potential of NFTs through ascribe.io, a pioneering platform that utilized the Bitcoin blockchain to certify the authenticity of digital artworks. This platform allowed artists to “tokenize” their creations by assigning them a unique cryptographic identifier, thereby ensuring traceability and authenticity. Each artwork was accompanied by a proof of ownership accessible via ascribe, enabling collectors to verify the transaction history and provenance of the works.
On March 22, 2018, XCOPY sold his first GIF for one British pound, marking a crucial first step in his transition to NFTs. He then began minting his works on various platforms, solidifying his position in the NFT space. His first major sale, titled First Supper, took place in February 2020 on Async Art. This collaborative work brought together XCOPY, Hackatao, Coldie, Shortcut (who purchased XCOPY’s artwork Jesus Mob in April 2018 for $15), and other influential crypto-artists. Each artist contributed their vision to a digital reinterpretation of the Last Supper.
What makes this work unique is its programmable nature through Async Art. Buyers could acquire the master token of the artwork, which allowed them to resell and display the entire piece. Additionally, they could purchase layer tokens representing different parts of the image. These layers, which included, for example, the grim reaper illustrated by XCOPY (here, broken link), could be modified almost instantly via an Ethereum transaction, enabling owners to customize their portion of the artwork 1.
The artwork (master token), with a starting price of 11 ETH (approximately $3,000 USD at the time of sale), was sold for $333,000, a significant amount that helped solidify XCOPY’s position as a major figure in digital art.
In 2020, his posts on Tumblr became less frequent, reflecting his increasing commitment to the NFT space. This period marked a reorientation of his efforts, as XCOPY took advantage of the evolution of the digital ecosystem and the opportunities presented by NFTs to develop his art and reach a broader audience.
XCOPY: Vision, Technique, and Legacy
XCOPY is not just a visual artist; he is a conceptual architect who uses his works to explore complex ideas about digital identity and the impacts of contemporary technologies. His work embodies an anti-conformist spirit, critiquing consumerism and technological dependency while innovating both technically and aesthetically. He addresses themes such as modern capitalism, technological addiction, and the erosion of individual freedom in an increasingly monitored world. Through his art, he encourages viewers to question the structures that govern their daily lives.
XCOPY stands out for his mastery of glitch art, a style that exploits visual imperfections to create a destabilizing effect. By using animated GIFs and combining bright neon hues with shadows and distortions, he develops a visual language that symbolizes the fragility and fragmentation of identity in a digital world. These glitches and animations create an impression of continuous movement, evoking a reality in perpetual decomposition or mutation. He manipulates pixels and creates animations that evoke degradation and transformation, a process rooted in an experimental tradition akin to the works of futurists and dadaists, but transposed to the digital age.
By publishing his works under a Creative Commons CC0 license (waiving rights—to the extent permitted by law—to place his work as close as possible to the characteristics of the public domain), XCOPY advocates for a rejection of traditional copyright conventions and promotes an open, decentralized culture aligned with the values of the Web3 community. This approach not only allows for broader dissemination of his works but also invites users to reinterpret them, creating a participatory dynamic around art.
Major Works of XCOPY
XCOPY has produced a body of notable works that explore themes of death, the digital society, and existential anxiety. These pieces, beyond their striking aesthetics, question and challenge the norms of contemporary art in the digital age.
Right-click and save as guy
Minted in 2018 and sold for $7.1 million in 2021, Right-Click and Save As Guy is one of XCOPY’s most iconic works, central to the debate on the value of NFTs. The piece directly critiques the widespread notion that digital art lacks intrinsic value because it is easily copyable. The title, playing on the phrase “right-click and save as,” mocks skeptics of digital art who reduce its value to a mere image that can be copied with a right-click. However, the addition of “guy” in the title adds a more personal and critical dimension, highlighting a nonchalant attitude and a lack of understanding regarding the evolution of art. The work is currently owned by American rapper Calvin Cordozar Broadus Jr., known as Snoop Dogg. He uses the pseudonym Cozomo De’ Medici as an investor in digital art.
The central character, depicted with “snow” pixels, appears as a grotesque caricature of NFT detractors. The glitch style, a signature of XCOPY, is employed here to create a figure that is both deformed and unstable, symbolizing the uncertainty and misunderstanding of those who oppose the NFT movement without grasping its deeper implications. The digital distortion, with irregular and fragmented shapes, echoes the fragility of traditional conceptions of art in the face of emerging technologies.
The main colors of the background—green, black, and purple—evoke a pixel shift, creating a chaotic movement effect and a sense of dislocation. This glitched background, which oscillates between various shades, enhances the instability of the scene, creating an atmosphere that is both oppressive and immersive. The presence of these moving pixels echoes the idea of a constant struggle between the new technological paradigm and traditional artistic concepts.
The character, wearing a hoodie with the hood up, suggests a desire to hide or protect themselves from criticism. The hoodie, often associated with anonymous figures or hacktivists, conveys the idea of an individual hiding behind a mask or screen to criticize without justification. This choice of clothing symbolizes the anonymity of internet users who oppose NFTs without truly engaging or informing themselves. The raised hood emphasizes a form of disconnection, a wish to not hear or understand what is actually happening.
The character’s lips, the same color as their glasses, move continuously. This visual detail, with a perpetually moving mouth, symbolizes empty or unfounded speech. The glasses, matching the color of the lips, create a visual synergy that suggests the character’s vision—his understanding of digital art—is influenced by his own superficial words. The wide-open black eyes reinforce this notion of superficiality, as if the character sees but does not perceive the depth of what he critiques.
The addition of the term “guy” in the title, beyond its informal aspect, can be seen as a challenge: a way of saying “do it like a man.” This subtext criticizes the cowardice of those who, behind their screens, claim to hold the truth about digital art without understanding the depth and technological revolution that blockchain represents. Thus, the title and the work confront the hypocrisy of those who assert a form of intellectual ownership while refusing to accept the new paradigm of verification and authenticity that NFTs enable.
By valuing an immaterial digital file through blockchain, XCOPY highlights a radical transformation in how art is perceived and valued. The blockchain certification process imparts a new dimension to digital art, creating a verifiable and unique ownership. The artwork thus becomes a visual manifesto, advocating not only for NFT technology but also for a conceptual evolution of art, where materiality is no longer the determining criterion of its value.
This transformation is accentuated by the contrast between the glitched figure of the character and the moving background. XCOPY uses this juxtaposition to deconstruct traditional prejudices, emphasizing that artistic value does not necessarily reside in the materiality or tangibility of a work, but in the very idea of ownership and authenticity that blockchain makes possible.
Right-Click and Save As Guy emerges as a sharp critique and a powerful defense of digital art. By using glitches to symbolize the instability of unfounded critiques, XCOPY offers a reflection on the transformation of art in the digital age. Through this work, he demonstrates that art can transcend the limitations of the material to attain a new form of legitimacy, rooted in technology and innovation. This piece embodies the symbolic and economic revolution of NFTs, challenging skeptics and reaffirming the position of digital art as a legitimate medium, rich in meaning and value.
A coin for the ferryman
A Coin for the Ferryman is one of XCOPY’s most iconic works, dating back to 2018 and sold in 2021 for 1,330 ETH, approximately $6 million. This piece, which is among the artist’s early creations on SuperRare, reinterprets the classic myth of Charon, the ferryman of the Underworld, in a contemporary and dystopian context. It features a character dressed in a suit and tie, symbolizing the alienation of modern professional life.
The artwork depicts a man in a suit, his white shirt blending with the pallor of his skin, evoking the uniformity and anonymity of the contemporary worker. His black hair and face, distorted by XCOPY’s signature glitches, convey a mix of fear, fatigue, and anxiety. The wide-open mouth, seemingly frozen in a scream, embodies the expression of suffering or silent rebellion, reminiscent of the primal cry of an individual trapped in a dehumanizing system.
The background of the artwork, composed of frantically oscillating waves of primary light colors (red, green, and blue), creates an impression of chaotic and disoriented movement. These luminous waves evoke the uncertain and tumultuous passage of the waters traversed by the character, serving as a direct metaphor for the crossing of the soul that the myth of Charon symbolizes. The frenzy of colors enhances the feeling of drifting, suggesting a loss of control in the face of an oppressive digital and technological environment.
By using the myth of Charon, XCOPY does not merely transpose a classic cultural reference; he critiques how modern capitalist society appropriates and exploits this symbolism. The coin (the piece) that the character symbolically carries to pay the ferryman of the Underworld becomes a symbol of constant payment, an allegory for financial alienation and the perpetual cycle of work, debt, and professional demands.
The figure of the worker in a suit and tie represents the individual drowned in social and professional expectations—a modern damned soul who, while moving mechanically forward, experiences continuous dehumanization. The glitched background amplifies this discomfort by depicting a fragmented and distorted reality, where the sense of individuality is lost amid waves of information and obligations.
XCOPY’s use of glitches signifies a fracture that is not only visual but also existential. By deconstructing the image of the man in a suit—a stereotypical figure of capitalism—XCOPY invites reflection on the consequences of a lifestyle based on repetition and the relentless pursuit of profit. The instability of the visual background and the distortions of the character emphasize the dissonance between the orderly appearance of the worker and the inner state of chaos, revealing the failure of contemporary economic and social models to provide genuine meaning or direction.
Some asshole
Some Asshole is an iconic work by XCOPY that illustrates his distinctive glitch art style and his ability to explore dark, critical, and satirical themes. Created in 2018 and sold in 2021 for nearly $4 million, it is among the artist’s most famous pieces. The artwork is also owned by Snoop Dogg, also known as Cozomo De’ Medici.
The artwork features a background composed of black rectangular patterns set against a vibrant pink backdrop. These rectangles are arranged in lines, with some flickering irregularly, creating a visual effect of tension and chaotic movement. In contrast, other stair-like black patterns remain fixed and non-flickering, introducing an element of visual stability within this agitated composition. This opposition between dynamic and static patterns can be interpreted as an illustration of the duality between progress and obstacles, or between stability and chaos.
At the center of the image is a character whose face is partially covered in purple hues, a unique color choice that draws attention. This purple area, located solely in the center of the face, appears to be a focal point, potentially representing a state of confusion or inner suffering. The white visible in the region where the brain would be suggests emptiness or fragility, enhancing the introspective dimension of the artwork. The character’s silhouette, black and altered by dynamic features, gives the impression of a blurred aura or disturbance surrounding the figure.
The altered aura and dynamic lines surrounding the silhouette could be interpreted as a visual manifestation of the tension or pressure affecting the character. This figure, with deliberately blurred and undefined contours, seems to embody a state of anonymity or identity dissolution. XCOPY employs his signature glitch art technique here to express a rupture, a loss of cohesion, and stability of the individual.
The fixed stair patterns, contrasting with the flickering lines, create an important visual duality. The stairs, possible symbols of elevation or progress, are placed within a context of chaos represented by the disruptive lines. This juxtaposition can evoke the difficulty of advancing or finding stability in a world where disruptive forces are ever-present. The character, positioned between these elements, appears to be caught in a state of struggle or disorientation, further emphasizing the impression of an identity crisis.
The purple, being the only distinct color at the center of the face, immediately draws the eye and becomes a symbol of emotional intensity. This color, in contrast to the surrounding white and black hues, may represent a core of suffering or confusion within the character, transforming this area into a focal point of inner anguish.
The title, Some Asshole, reinforces the idea of a critique of anonymity and depersonalization in contemporary society. By using a vulgar and provocative term, XCOPY mocks the uniformity and lack of identity of individuals within social structures. This choice of title, when viewed in relation to the blurry and distorted appearance of the character, demonstrates the artist’s intention to denounce the erasure of individuality and how people are reduced to stereotypes or anonymous figures in an alienating system.
The use of glitch art here serves as a means to decompose the image of the individual, symbolizing their fragmentation and loss of bearings. The dynamic visual effect, which creates an aura of disturbance around the silhouette, amplifies the idea of disintegration and the struggle to maintain some form of coherence in a chaotic environment.
Ultimately, Some Asshole is not merely a distorted portrait; it is a sharp critique of contemporary society that erases the individual in a whirlwind of confusion, standardization, and disorientation. XCOPY employs his techniques and visual choices to emphasize this dehumanization while inviting the viewer to question the structures that shape this collective loss of identity.
Last Selfie
Last Selfie, a limited edition work with 10 copies, was minted in December 2018 on the KnownOrigin platform. The piece, with its incisive social commentary and recurring themes surrounding death, fits perfectly within the artist’s characteristic style. It allows ten potential collectors to own a copy, providing a glimpse into contemporary digital culture through the lens of satire.
Last Selfie depicts a man in a white shirt and black tie taking a selfie alongside the Grim Reaper. Unlike the usual imagery where death lurks in the background or ambushes the living, here it stands beside the character, its hand wrapped around his shoulders, adopting an almost conspiratorial posture. This gesture creates an unexpected dynamic, suggesting not only familiarity but also a form of acceptance from the man. In fact, the character does not appear to flee or be wary; on the contrary, he voluntarily initiates the selfie, thereby incorporating death into an act that is intended to be casual and social.
The forced smile depicted by a jagged black line across the man’s face reinforces the idea of a facade, an attempt to mask worry or discomfort behind a veneer of normalcy. The apparent acceptance of death, embodied by the Grim Reaper, reveals a detachment or nonchalance in the face of the inevitable, making the image both unsettling and ironic.
By depicting the Grim Reaper with an almost friendly proximity, XCOPY plays with the idea that modern society, obsessed with self-image, trivializes and normalizes what should evoke fear. The selfie, as a deliberate and sought-after act, becomes a metaphor for this resigned, even complicit, acceptance of death. This contrast between the social act of taking a selfie and the gravity of the subject (death) creates a tension that challenges the observer.
The choice of the Grim Reaper to pose with the character is significant: she does not hide; she presents herself openly, and the man accepts her presence without hesitation. He does not seek to flee or combat her; instead, he aims to immortalize this moment with her, symbolizing the obsession of our era to capture everything, including the inevitable.
The glitches and random flickering of the background, oscillating between pink and gray, create an unstable atmosphere that reflects the ambiguity of the captured moment. These glitches, less prominent than in other 1:1 works by XCOPY, subtly disrupt the image, evoking a sense of malfunction or alteration. This texture evokes electronic noise, resembling interference on a television screen, and enhances the notion of a moment frozen in chaos.
The image of the office worker and the Grim Reaper, arm in arm, evokes a sharp critique of modern life: the alienation of daily existence, where the acceptance of death becomes an ordinary act. The character conforms to a mundane act (taking a selfie) without considering the deeper implications of his situation. The Grim Reaper, far from representing a threat, becomes a familiar companion, integrated into the act of documentation that the selfie represents.
The pink color, shimmering and overlapping on the character’s white shirt, can be interpreted as an allusion to blood, highlighting the inevitable and omnipresent nature of death. The contrast between the pink and gray background, along with the snowy texture, emphasizes the instability and fragility of this seemingly trivial moment, reminding us that even the simplest moments can be imbued with symbols of mortality.
With Last Selfie, XCOPY not only critiques selfie culture but also explores the idea that, in our obsession with capturing everything, even death becomes an object of trivialization. The character’s calm acceptance of the Grim Reaper’s presence challenges the authenticity and value of our constant documentation of life.
By juxtaposing these two figures, XCOPY reveals the futility of trying to capture every moment, even when that moment is imbued with finality. The artwork questions superficiality and collective unconsciousness, showing that even in an act as simple as taking a selfie, the grim reality of our mortality lurks in the background, always ready to remind us of its presence.
All Time High in the City
All Time High in the City is a key work rooted in XCOPY’s characteristic style, blending dystopia, visual glitches, and social critique. This piece unfolds in a dark and oppressive semi-urban landscape, where a character in a suit and tie is found on a boat driven by the figure of death, the Grim Reaper. Through its striking imagery, the work explores themes related to capitalism, the vanity of professional success, and the inevitability of human existence. The artwork has exponentially increased in value, reaching record sales in 2021 when it was acquired for 1,630 ETH (approximately $6 million at the time)—once again by Snoop Dogg. The piece depicts a chaotic urban landscape where the figure of the Grim Reaper, symbolic of death, appears inescapably.
The image, dominated by bright red and deep black, creates a hellish atmosphere. The boat traverses an urban landscape that is likely devastated, where background buildings are depicted as dark black blocks, outlined by horizontal lines. These structures appear frozen, even desolate, reminiscent of anonymous and impersonal offices typical of modern work environments.
The character in the suit, wearing a white shirt and black tie, sits in the boat next to the Grim Reaper, who holds an oar and guides the journey. The Reaper’s posture and facial expression—a blissful, almost detached smile—add a disturbing dimension to the scene. Despite the situation, the character appears strangely content, as if the idea of this journey, this crossing guided by death, does not alarm him.
The choice to depict the character with a relaxed, almost blissful smile underscores a sense of resignation or acceptance. Rather than appearing panicked or worried, the man seems detached, even dazed, as if he is being carried along by events, unable to recognize the imminence of his situation. In this context, the smile becomes a symbol of the complacency of those who become lost in the pursuit of material success, disregarding the deeper consequences of their actions.
The Grim Reaper, on the other hand, is central to the image. She does not hide; she is at the heart of the action, guiding the boat with the oar, suggesting that she is in complete control of the situation. This visual detail, far from being trivial, emphasizes the idea that the destination and the journey do not depend on the man but rather on this inescapable figure of death. XCOPY uses this symbol to highlight the inevitability of the human condition and the impossibility of escaping the consequences of a life focused solely on material success.
The black glitches, appearing as effects of fog or rain moving from right to left, reinforce the idea of a decaying environment, symbolizing the fragility and instability of a world dominated by capitalism. These digital distortions, characteristic of XCOPY’s style, illustrate a universe in constant flux, echoing the unpredictability of financial markets and the volatility of modern economic systems.
The intense and aggressive red background, filled with lines and abstract shapes, creates a chaotic visual effect. It evokes a turbulent sea or a fiery landscape, reminiscent of hell or a post-apocalyptic scene. This aesthetic amplifies the feeling of despair and inevitability, suggesting that the path taken by the character is not merely a journey but an irreversible descent into a form of damnation.
The artwork can be viewed in relation to other creations by XCOPY, particularly A Coin for the Ferryman and Last Selfie. One could interpret All Time High in the City as a logical continuation, an evolution of the character’s journey. In A Coin for the Ferryman, he was already anticipating this passage, offering a coin in exchange for crossing over. In Last Selfie, he took a photo with the Grim Reaper, a symbolic act of acceptance of his own end. In All Time High in the City, this acceptance reaches its peak: the character has now boarded the boat, a blissful smile on his lips, as if he has fully embraced his fate.
All Time High in the City serves as a scathing critique of capitalism and the alienation it produces. By depicting a visibly satisfied man in the face of imminent threat, XCOPY highlights the disconnection of those who blindly pursue professional success without recognizing the sacrifices and consequences that arise. The Grim Reaper, as a guide, serves as a reminder that death remains an inevitable and omnipresent force, orchestrating the fate of each individual.
This artwork, through its visual and symbolic richness, embodies the essence of XCOPY’s social critique. It illustrates how digital art can transcend mere visual forms to become a vehicle for deep reflection on our times and the shortcomings of modern society.
God is typing ...
God is typing… stands out from XCOPY’s other works due to its vibrant color palette, moving away from the dark and unsettling tones typically associated with his art. However, while the chromatic choice is brighter, the central theme of the piece remains rooted in social critique and the exploration of technological excesses, a recurring subject for the artist. The work was created in 2022 and sold for approximately $500,000 on SuperRare.
The artwork features a character with simplified and ambiguous traits, who could be either humanoid or extraterrestrial. The figure’s face consists of large bulging eyes, fully captivated by a smartphone, and a small, sketched nose. There is no visible mouth, emphasizing the dehumanization of the figure and accentuating its obsession with the screen.
The dominant colors are neon green and bright yellow, creating a striking contrast with the background, which oscillates between saturated pink and vibrant red. These color alternations, typical of XCOPY’s glitch art, create a hypnotic effect, reminiscent of the visual instability of screens or the sensation of technological overload. The phone that the character holds appears to be on fire, suggesting a frenetic, even compulsive, use.
The title God is typing… plays on a subtle and incisive metaphor. The mention of “…” is a direct reference to the notifications seen in online messaging interfaces when a correspondent is typing. This prolonged anticipation symbolized by the ellipsis highlights the anxious expectation of a response, a common phenomenon that underscores our dependence on digital devices and the attention we seek online. By suggesting that “God” is typing, XCOPY establishes an ironic parallel: we await a response from a divine figure, but this contemporary deity turns out to be our phone, which has become an object of worship.
The choice of ellipses accentuates this dimension of real-time interaction, evoking the impatience and constant connection we have with technology. The artist critiques how these devices dictate our pace of life and emotions, placing us in a state of perpetual waiting and dependence.
The character, absorbed by their phone, embodies the image of a modern humanity completely captivated by its devices, to the point of becoming dependent on them. XCOPY employs glitches and rapid color variations to simulate an effect of visual overload, replicating the hypnosis that bright screens can induce. The fire emanating from the phone illustrates not only the idea of physical overheating but also serves as a metaphor for the emotional and psychological exhaustion caused by this constant connection.
The absence of a mouth in the character reinforces the idea of passivity: the individual does not communicate; they merely receive, observe, and type frantically. This expressionless face, focused solely on the screen, serves as a critique of how technology reduces human interactions and emotions to mere digital exchanges.
The ambiguity of the character—human in disguise or extraterrestrial being—opens the door to multiple interpretations. XCOPY deliberately allows this doubt to linger: is it a human thinking themselves a god through the illusion of their digital power, or an alien creature fascinated by this human technology? This duality reflects our society’s obsession with image and appearance, highlighting that, regardless of our identity, alienation through technology is universal.
The disguised or altered nature of this character also suggests that the screen acts as a filter, distorting our reality and self-perception. The fact that the character’s eyes are synchronized with the movements of the flickering background reinforces the idea that technology captures our attention uncontrollably and manipulates our perception.
The use of glitches and the rapid flickering of the background accentuate a frenetic and unstable atmosphere. The continuous transition from pink to red, linked to the character’s eyes following the same rhythm, creates a visual tension that illustrates the hypnotic and oppressive nature of screens. This technique also serves to depict the sense of urgency that technology and the overconsumption of information impose on our daily lives.
God is typing… positions itself as an ironic and scathing critique of our relationship with the digital world. XCOPY uses the motif of the smartphone as a mirror for our society, which elevates technology to the status of an object of worship while becoming enslaved by it. The character, although presented as a god typing away, ultimately reveals themselves to be a victim of their own technological obsession, incapable of breaking free from this cycle of dependence.
By subverting the codes of online messaging and incorporating them into an artistic work, XCOPY compels us to reflect on the silent alienation caused by our constant connection to screens. Ultimately, the artist poses a crucial question: who truly holds the power—us, or our devices?
Grifters
The Grifters collection, launched on December 15, 2021, by XCOPY, consists of 666 unique avatars created using Async Blueprints technology, a modular digital art generation tool developed by Async Art— a solution that was abandoned in October 2023. Unlike XCOPY’s classic works, often characterized by dystopian themes and glitch art, this series adopts a distinct style while retaining typical elements of his aesthetic. Each avatar in Grifters is based on a variety of components, creating unique faces while exploring a singular visual universe.
Async Blueprints allowed artists to create digital artworks by defining a base model or blueprint, which was then varied through an algorithmic process. For XCOPY, this means that each Grifter is generated from a set of predefined traits but combined in a unique way. This approach introduces diversity within the collection while maintaining artistic coherence, which is essential for ensuring the rarity and uniqueness of the avatars.
The use of Async Blueprints illustrates how generative art can serve as both a creative tool and a means to critique or question the value of digital objects, particularly in the context of PFP (Profile Picture) avatars, which proliferate on social platforms and NFT marketplaces.
Although the Grifters series deviates from XCOPY’s traditional glitch art, it remains true to his approach to digital art, featuring faces marked by sometimes menacing traits and a vibrant color palette that contrasts with the dominant black backgrounds. The faces come in four main shapes, each possessing characteristics that enhance the expressive and unsettling nature of the collection. The primary colors—green, blue, and yellow—add a striking contrast to the black backgrounds, creating a compelling visual effect. The eyes, referred to as “Vision,” offer twenty different types of gazes, some incorporating iconic symbols like the Ethereum logo, used as a pupil in one of the designs. The hairstyles, grouped under the term “Surface,” come in sixteen variants, including more eccentric options like flying insects called Flies.
The backgrounds, grouped under the name “Atmosphere,” offer eleven options that add a narrative dimension to the avatars. Some are minimalist, such as Probably, a solid color background without texture, while others play with more familiar motifs like soap bubbles (Bubbles), floppy disks (Save As), envelope icons (DMs), or image files (JPEGs). Finally, the mouths, or “Noise,” come in fifteen variations, some of which add a provocative touch, such as Candy Cig, which depicts a cigarette.
These combined elements enable the creation of avatars with nearly infinite combinations, each featuring traits that enhance its rarity and perceived value, thus contributing to the success and appeal of the collection.
Three legendary avatars: Rotten, Mblazed, and Flooky
Within this collection, three editions stand out: Rotten, Mblazed, and Flooky. Each of these editions features unique and intricate characteristics that position them at the pinnacle of the collection in terms of rarity and aesthetics. All three possess a “Legendary Edition” trait.
Flooky
Flooky stands out with a composition that subtly combines almost all the available backgrounds in the collection, arranged in a slightly modified manner compared to other avatars, accompanied by thousands of white and gray pixels suggesting a starry night sky. This legendary edition features a unique gaze, with yellow and red magnet-shaped eyes, and a purple hue that does not appear anywhere else in the series. As for the hairstyle, it showcases the Flies pattern, already used in other avatars (e.g., #614 above), but here paired with this purple shade, enhancing its distinctive character. The Double Drop mouth, which displays pills on a tongue, adds a provocative touch typical of XCOPY’s style. This piece was acquired by Snoop Dogg under the alias Cozomo de’ Medici, highlighting the collection’s appeal to prominent collectors.
Rotten
Rotten features a unique texture inspired by small strokes reminiscent of the Flies hairstyle. Its background, evoking a starry sky, blends white and gray dots that harmoniously integrate with the main shape (the Shady type). This visual continuity enhances the impression of a skull floating in a cosmic space, adding an almost mystical dimension to the piece.
Blazed
The legendary Blazed version of the Grifters collection seems to diverge from XCOPY’s usual aesthetic. The color palette used here for the stars—purple, pink, blue, and fluorescent green—contrasts against a black background, evoking a visual universe reminiscent of “fairy neon” or “cosmic rainbow” imagery, breaking away from the dark and dystopian tone prevalent in most of his other works. The artist, known for his incisive critiques and dark visuals, may be deliberately playing with this dynamic, creating an ironic shift from his previous pieces.
By adopting a PFP-based approach with Grifters, XCOPY explores the artistic and commercial duality of this format. The very term “Grifters,” which means “crooks” or “profiteers,” seems to invite a questioning of the motivations behind the buyers of these avatars and the essence of the works themselves. In line with his critical and satirical themes, XCOPY appears to play with the notion that the purchase of these avatars—intended to be displayed on social media—while visually appealing, could be interpreted as complicity in the speculative phenomenon surrounding PFPs. He thus suggests a form of reflection on how collectors themselves participate, sometimes unconsciously, in a market dynamic that he critiques.
The Grifters collection does not deny the artistic appeal of these avatars but subtly questions their use and the speculation surrounding them. By inviting collectors to display these avatars, XCOPY poses a critical question: is this a genuine appreciation of art or a quest for status and profit in an increasingly speculative market? The collection could thus be viewed as a reflection on the delicate balance between art and commerce in the realm of NFTs. The Grifters collection ultimately serves as a critique of the dynamics of the digital world and the saturation of images. It also questions the value of art in a universe where digital objects can multiply infinitely, yet their significance remains subject to rapid and superficial appropriation. It does not merely exist as a visual collection; it transforms into a manifesto on art in the digital age, challenging notions of value and authenticity in a world where everything can be copied, multiplied, and consumed endlessly.
Since its launch, Grifters has experienced significant appreciation. The current floor price is 9.90 ETH (approximately 15,000 EUR in October 2024), making it one of the more accessible collections from the artist while maintaining strong popularity among collectors. It embodies the ambiguity of NFT speculation while reaffirming XCOPY’s complex and critical artistic identity.
Max Pain and Frens
The Max Pain and Frens collection by XCOPY, launched on March 24, 2022, on Nifty Gateway, marked a turning point in the NFT space by combining several formats and distribution mechanisms to captivate collectors and supposedly encourage massive participation.
The animated skulls in the Max Pain and Frens collection powerfully embody the glitchy and subversive aesthetic characteristic of XCOPY. The choice of neon colors contrasts intensely with the black background, creating a visual effect that is both captivating and disturbing. This contrast amplifies the sense of urgency and chaos that the artist seeks to convey, a hallmark of his work that frequently explores themes of dystopia, death, and social critique.
These skulls, frozen in an expression that is both enraged and disillusioned, are animated by rapid and fragmented visual distortions typical of XCOPY’s glitch art style. The use of glitch, far from being purely aesthetic, evokes the collapse of traditional structures and the instability of perception in a digital world saturated with information and distractions. These frantic animations, with their jerky and unpredictable appearance, suggest a world in disintegration, where identity is continually distorted, decomposed, and recomposed.
This approach echoes Jean-Michel Basquiat’s work Skull (1981). Like Basquiat, XCOPY uses the skull not only as a universal symbol of mortality but also as a tool for social critique. In Basquiat’s work, the skull becomes an exploration of racial tensions, social inequalities, and death. In Skull, for example, the fragmented assemblage and nearly abstract features create a vision that is both disturbing and captivating of human anatomy, evoking a decomposed humanity haunted by violence and death.
XCOPY reinterprets this iconography to adapt it to the digital age, infusing it with technological dynamics and contemporary chaos. The skulls in Max Pain and Frens recall Basquiat’s influence but transpose this aesthetic into a glitched universe, where fragmentation is not only physical but also digital, reflecting a modern identity in perpetual recomposition.
The vibrant colors, reminiscent of Basquiat’s palette, are used here ironically. Rather than symbolizing life or energy, they create an electric and toxic atmosphere, reinforcing the idea of a saturated universe where an excess of visual stimuli leads to a form of alienation. The hypnotic effect of the animations intensifies this sensation, immersing the viewer in a visual loop that reflects the addictive nature of current screens and technologies.
The reception of this collection is ambivalent. On one hand, it is praised for its ability to capture, through visually striking artwork, contemporary anxieties related to technology and the omnipresence of the digital world, while being offered at a price considered accessible (around $3,000). On the other hand, some lament the choice of an open format, suggesting that the multiplicity of copies could dilute its artistic value.
Before the launch of the collection, there was a genuine rarity of XCOPY’s works in the secondary market. Very few pieces were available for sale, with the floor price around $20,000. Some perceived this launch as an excessive democratization of the artist, making a large number of NFTs available. According to them, this abundant supply, far exceeding the usual demand, risked causing a devaluation of prices.
All I learned is that people get triggered by 'open editions'. 😄
— XCOPY 🏴 (@XCOPYART) March 24, 2022
Nevertheless, by transposing his aesthetic of saturation and glitch to evoke a frantic urgency for acquisition, XCOPY paradoxically strengthens the message of the collection: in a hyperconnected digital world, even art becomes a frantic race, an object of instant consumption. Despite concerns about dilution due to the open edition format, prices in the secondary market remained stable, demonstrating that the value of XCOPY’s works, as well as his status as an artist, remain unaltered. Ultimately, the ongoing demand continues to prove that, even in the face of perpetual acceleration, XCOPY’s art retains its rarity and prestige.
Sales Process (Drop)
The Open Edition
The sale took place in an open edition format, allowing collectors a ten-minute window (from 6:30 PM to 6:40 PM EST, which is from 12:30 AM to 12:40 AM in Paris) to acquire as many NFTs as they wished, priced at 1 ETH per piece (approximately $3,100 at the time). This format, which allowed for unlimited copies but imposed a time constraint, resulted in 7,394 sales, generating a total revenue of $23 million within ten minutes. This approach leveraged the urgency of time-limited scarcity to maximize excitement.
well that was quite intense
— XCOPY 🏴 (@XCOPYART) March 24, 2022
Ranked Auctions
Simultaneously, XCOPY organized two ranked auctions for limited edition works:
- Waster, an edition of 6 copies.
- Damager Luxe, another work in an edition of 12 copies.
The ranked auctions allowed bidders to track their rank in real-time and adjust their bids to secure a winning position. They took place over 30 minutes from 4:30 PM to 5:00 PM EST (10:30 PM to 11:00 PM Paris time). The final prices ranged between $91,000 and $101,000, demonstrating the ongoing interest in XCOPY’s works.
The Drawing (Raffle)
A raffle was organized for the artwork Gourmet Spicy, limited to 24 copies. Collectors meeting the criteria, such as owning at least five NFTs on Nifty Gateway, were able to participate and hope to acquire a copy for just $1. This format enhances engagement by adding a playful dimension to the acquisition of the artworks.
The burn mechanism (burn levels)
One of the most innovative aspects of this collection is the burn mechanism, grouped under the title Traitors Redemption. This system allows holders of Afterburn (a previous collection) to destroy their artworks in exchange for new ones, such as Damager, Guzzler 2 (Red), or Reachback, at the symbolic price of $1. This process encourages collectors to make strategic decisions, reinforcing the idea of rarity by reducing the number of available pieces on the market.
The choice to name the burn mechanism Traitors Redemption is not trivial. XCOPY seems to suggest that the process of destroying one artwork to acquire another could be seen as a form of betrayal or disloyalty to the original piece. This invites collectors to ask themselves: is it justified to burn one piece of art to obtain another, potentially rarer one? This dynamic highlights the paradox of speculative art , where the value of a work can be manipulated and increased by destroying a part of its heritage.
XCOPY plays here with the idea of transforming art into a fluctuating commodity, subtly critiquing the frenzied speculation in the world of NFTs. By using this process, the artist may be mocking collectors who, in their quest for rarity, participate in a cycle where art is treated merely as a financial asset to manipulate and trade.
The Max Pain and Frens drop demonstrates XCOPY’s ability to push the boundaries of innovation in the NFT space while raising crucial questions about the value and nature of digital art. By exploring mechanisms like open edition and burn, he engages collectors in a complex game where loyalty to art is tested, all while ensuring his position as a pioneer of crypto art remains unshaken.
XCOPY: The Lost Works, or Almost Lost
The lost works of XCOPY refer to pieces created on early platforms that have since shut down, such as ascribe.io, RARE Art Labs, and Digital Objects. Some of these works were purchased at the last minute or rediscovered by collectors determined to preserve these fragments of digital history 2.
Ascribe
Jesus Mob
Ascribe.io was the first platform that XCOPY used to certify his digital works via the Bitcoin blockchain. In 2018, he registered several creations there. However, the closure of ascribe.io that same year resulted in the loss of several works that could not be migrated or saved in time. Jesus Mob was fortunate to be purchased in time, allowing it to be preserved. Some works were able to be transferred to still-active platforms, ensuring their conservation, while others unfortunately vanished.
The testimony of @shortcut details the purchase of Jesus Mob — at this now-inactive address — on April 7, 2018, for $15 before the closure of Ascribe. This act reflects the interest of a pioneering collector, passionate about digital art and the possibilities offered by the Bitcoin blockchain. This purchase, made long before the massive popularization of NFTs, showcases a form of forward-thinking vision. Jesus Mob thus becomes a rare example of a work preserved thanks to this commitment, illustrating how XCOPY was already part of the NFT universe well before the phenomenon gained the prominence it has today.
Alight here for dystopia
Other works did not have this luck. This is the case of Alight Here for Dystopia, whose very first version — dated 2017 — was uploaded on March 28, 2018, on ascribe.io. Never sold, this work seems lost forever. However, on November 13, 2018, XCOPY uploaded a similar piece on Super Rare with a modified color palette shifting from green to blue while maintaining the same glitch.
Loading new conflict ...
After the closure of Ascribe, XCOPY created seven variations of his piece Loading New Conflict on SuperRare… and gifted them to seven of his former Ascribe collectors.
Story behind this: I minted 7 variations of this piece on SR and gifted them to collectors who had supported my work on ascribe (which fell into the cryptoart platform graveyard). https://t.co/gWdyRJRrtO
— XCOPY 🏴 (@XCOPYART) March 17, 2021
this one was originally gifted to @artnome ( a handful of other collectors also received alternate versions) for supporting my work on https://t.co/QOKx5VRdag - before it died. https://t.co/r4XXZObemh
— XCOPY 🏴 (@XCOPYART) August 3, 2020
Rare Art Labs
Rare Art Labs was one of the first NFT platforms where XCOPY showcased his works, prior to the massive NFT boom. Launched in 2018, this platform stood out for its forward-thinking approach, but it failed to establish itself in the long term. Some of XCOPY’s works on Rare Art Labs have been retrieved and tokenized on modern marketplaces, while others were never minted or remain stuck in the original smart contract.
Death wannabe
On July 17, 2018, 10 editions of the artwork Death Wannabe were produced on Rare Art Labs. Today, only 3 of these editions are in circulation, while the other 7 remain locked in the initial contract, with no possibility of unlocking them without an update to the smart contract.
I did a thing.
— NooNe0x (@phon_ro) October 12, 2021
Death Wannabe by @XCOPYART
1/3* 17th July 2018.
Originally a x/10 - 7 are locked in the original R.A.R.E ART contract. @redlioneye13 knows ⬇️⬇️https://t.co/bafQkf4i83 pic.twitter.com/uGzTXNjdsu
Disaster Suit
On July 31, 2018, Disaster Suit was launched with 10 editions. Currently, 4 copies are in circulation, while the other 6 remain permanently locked in the contract. One of the copies of Disaster Suit was resold on October 21, 2021, for the impressive sum of 1 million dollars, highlighting the growing value of XCOPY’s works in the secondary market, even when they originate from now inactive platforms.
‘Disaster Suit’ #cryptoart
— XCOPY 🏴 (@XCOPYART) July 31, 2018
Edition of 10
Out now! Only @rareartlabs https://t.co/TrQ12doE2c#digitalart #rare #ETH pic.twitter.com/O3RH68NhXh
DISASTER SUIT
— XCOPY 🏴 (@XCOPYART) April 4, 2024
2018 ERC-20
Contract: https://t.co/kr0y8UCUzy pic.twitter.com/HHHeWXHUMH
XCOPY and the initial owners agreed to wrap some of their works, meaning they were enveloped in a new contract compatible with current blockchain standards, such as ERC721 or ERC1155. This allows the works to remain tradable and visible on modern marketplaces like OpenSea or Rarible, even if they were created on older protocols 3.
Fan Bits
In March 2018, Fan Bits was launched as an extension of Rare Bits, a pioneering NFT marketplace in the crypto-art space—both platforms have since closed. This platform allowed artists to easily launch their own tokens, but it did not achieve the expected success. It quickly lost interest, with a nearly inactive Twitter account six months after its launch. However, XCOPY was among its users.
uhhh — did @XCOPYART drop 100 pieces on @fanbitsHQ (now dead) back in may 2018?
— Gianni Settino (@giaset) April 10, 2022
if so, i just retrieved all of them from the old/unverified smart contract pic.twitter.com/6vORs2P7rx
Threads are generally cringe, but let me put on my midwit clout-farmer hat real quick.
— Gianni Settino (@giaset) April 21, 2022
🧵 Here's a step-by-step guide on how I found some of @XCOPYART's oldest Ethereum pieces hiding in plain sight (and, bonus: how to interact with unverified smart contracts) pic.twitter.com/OXR7uavFIv
Digital Objects
Digital Object was an NFT platform dedicated to digital art. Like other similar projects of the time, it struggled to gain sufficient adoption to ensure its sustainability.
Despite its closure, some works created on this platform, including those by XCOPY, have survived. Three emblematic pieces by XCOPY (Hackproof 2049, Last Human Police 2039, New Teeth 2033), initially minted on Digital Object, have been recovered and preserved on OpenSea, allowing these creations to continue living and circulating in the NFT market.
Ultimately, these works, sometimes recovered and sometimes lost, reflect not only the tumultuous beginnings of the NFT space but also the inherent challenges of preserving digital art. The immutability of the blockchain, while ensuring the permanence of transactions and smart contracts, does not guarantee the longevity of the files and metadata associated with them.
Data associated with NFTs, such as metadata (title of the work, artist, descriptions), as well as multimedia files like images, videos, or others, are typically not stored directly on the blockchain due to the prohibitive resource costs. In the absence of a solution, especially during the early emergence of NFTs, these elements have often been kept off-chain, on centralized external systems.
Pioneering artists like XCOPY took significant risks by engaging with emerging platforms, revealing the shortcomings of early NFT infrastructures. While platforms like Ascribe.io, Rare Art Labs, Fan Bits, and Digital Objects have made their mark in the history of early digital art, they also left works trapped in the limbo of smart contracts and site closures.
Despite everything, these works continue to captivate collectors and the NFT community. Efforts like those made by Gianni Settino demonstrate that even when certain pieces seem lost, the blockchain retains traces that allow them to be rediscovered and revived. This recovery process highlights the durability of tokenized digital art. Even if the platforms fade away, the essence of these works can endure, thus ensuring their preservation and accessibility.
1 First Supper was designed on the Async Art platform, allowing owners of the layers to modify aspects such as state, rotation, scale, XY position, visibility, opacity, hue, and RGB values. These changes were sent via an Ethereum transaction to the associated smart contract.
2 The website Redlion.news dedicated two articles (here and there) specifically to the potentially lost works of XCOPY, referring to them as Lost XCOPIES.
3 Wrapping involves encapsulating an original NFT within a new smart contract that allows it to be compatible with new platforms, without altering the content or provenance of the work. The NFT is transferred to this new contract, creating a modernized version while retaining the information of the original work.
4 OpenSea uses a “caching” system for NFT metadata to make collections more accessible and searchable, even if the original platforms or initial smart contracts are no longer active. In the case of XCOPY’s Fan Bits works, it is possible that these two creations were added to OpenSea before the Fan Bits platform disappeared.
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