Yonat Vaks on Her Artistic Journey & the Meaning of Bitcoin Art | Bitcoin Art Podcast w/ Asanoha Ep. 3

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I've got two questions to run off of that.

The one is, do you feel like there's, well, let me, I guess,

when you discovered Bitcoin and started learning about Bitcoin,

interested in economics and so forth. Prior to learning about Bitcoin, but I know a lot of us

learned about that stuff or learned a lot more about that stuff, of course. Once we discovered Bitcoin,

do you, like, when you were learning about Bitcoin, did you, I can only assume, but why would

I would only guess, but tell me, did you, like, think about, like, the kind of communal structure

that you would grow up in, at least when you were younger, in relation to, like, Bitcoin and more

free market capitalism and so forth? Anything notable that you might share with us or that you

remember? Like, wow, that's, you know. I don't know if I looked back. I mean, yeah, I was,

I learned a lot more about, like, the history of money and monetary policy when I discovered Bitcoin

definitely, but I think I took it more in just how, you know, how ignorant I was, how ignorant

most people are about, like, monitor, I didn't really take it back to that. I think I, because I

think, like, that part for me is more, like, like, a psychological thing than a mod. Like, I never,

I think also because I was there as a child, I wasn't there as an adult, so I didn't feel like

the monetary policy as much. It was more, like, the other parts of it that I felt. So for me,

it's, like, more, more, when I think about that, it's more about how, you know, how ideologies

shape, like, how people live and how ideas are so strong sometimes against human nature, kind of,

like, I take it more to that because I think I, yeah, I was just a child. I didn't feel like the

monetary side of it as much. That makes sense. You know, maybe on the contrary or even, like, as a child,

you know, you'd go to this place to eat and you'd have all the food in the world, you know, it was

kind of like, on the monetary side, it felt like abundance more as a child, right? Because, because

you can have, because you had everything you needed, you never felt there was anything missing, right?

But later, yeah, but when I learned about what we're going to, it was more about how, just

seeing people around, like, struggling and not understanding, me included, right? Like, not

understanding how the system works and, you know, once you learn about it and see it, you kind of,

you know, it opens your eyes completely and it's just, yeah, it's sad how we,

how most people don't know how it really works. Yeah, I hear what you're saying to the, how almost

oppositely as a child, the, like, provisions provided in an environment like that,

where, and you also left when you were quite young. Okay, I guess if you're willing, would you

tell us a memory from when you were young that was profound, something that moved you deeply or

shaped, you're psyche in a way that you still feel today, that's maybe, when you were a little

bit older or maybe a little bit more positive, not that, that the, your, very early life in the

caboose was not positive, but, um, but it does sound like it was very interesting and possibly

intensive times. So, no, for, I mean, I, it's things I'm saying, like, as an adult looking back,

like, I don't, if I remember, you know, like, my memories from there are bad memories.

It's just kind of like looking back at it, you know, having kids on my own, it's just kind of like

these things you do when you look back at things, right? But I didn't, I don't have like bad memories from

there. Something profound, there's a lot of things. It's funny, it's like when people ask,

what is the one thing? I have like something in my brain, like, my son always asked me, like,

what's your favorite movie? What's your favorite? I'm like, I hate, I don't, I have a hard time with

those questions of, like, picking one, I don't know, pick one. I think, like, in general, it's not

like a moment, but I think something that really shaped who I am is that we moved a lot,

like, just because of, like, you know, we lived there and then we moved to the states and then

just because, you know, we want, my parents wanted to move back to Israel, we moved back and then

we were, you know, in this house that, that they rented while they were building another house,

just kind of like, you know, life, we moved a lot from place to place. So I think until now,

basically, I've, every two, three years, we would change place, like, we would change house,

we would change people that were around us. And I think that's one of the main things that

like, it's something very profound that shaped who I am because change for me is something

normal, especially today, you know, the world we live in today that things change so rapidly.

And you have to get used to it, like, if you don't get used to change in the world, like, with AI

and everything that's happening in the world today, you're gonna, you're gonna suffer because the

world is changing so fast and you have to adapt, like, I think one of the biggest things you need to

learn is to adapt and change and see how the future is, like, changing. And to me, you know, on

one side, yeah, there's, when you change all the time, there's things that, but I think there's

always things that you gain and things that you, like, lose quote unquote, but for me, this constant,

these changes kind of like taught, now change is normal for me. It's like, it's easy. I like it.

Like, it's like, okay, what's new? Let's, you know, it's natural. It's easy. And I think it's

something that shaped me also just to see that things are different in each place. You know, it's like

because when you move, like, from, from like a Kibbutz in Israel to, to Florida, it's like a, it's

not completely different culture, but it is different, right? So it's like that thing where truth's,

you know, the truth of how life is, you kind of get to see that there is no truth of how life is,

it's just like a cultural thing, right? Most of the things, and how we see the world, right?

Like, I remember, and I kind of continued this as an adult and also, like, moving from place to place.

And, and, you know, I think especially when you, when you live in a culture that's similar or go

move to a culture that's similar to yours, but a little bit different as well, then all of these

things that you felt are like, truth of how you should live. Like, I'll give you an example. I moved

to Spain and I was having, I remember the first, my first encounter with it was I had an exhibition

and I need to get, I needed to get this painting framed. And in Israel, I think it's a lot like

the US and like customer service and like things are on time and all that. So I went and I said,

okay, I have an exhibition like in a week. I need this ready the day before. And he was like,

fine, like, what frame do you want? I came a day before and he was like, oh, sorry, I forgot.

Not even sorry, like, I forgot. And I was like, what do you, and it was just like, yeah,

I forgot. Like, no, oh my god, I'm so sorry. I'll do it right now. Like, I forgot. And my first

reaction was like, what do you mean? Like, what do you mean? Do it now? And it was like, I can,

I'll try to do it for tomorrow. And the thing is that a lot of people say, oh, people in Spain are

lazy. And then your, my first reaction was that, what do you mean? Like, you're sorry. Do it now.

Like, I need it. But after living here for so long, I really, really, really respect that.

It's like, there's someone told me is saying like, in Spanish urgency and emergency,

like the emergency room is like the same word as urgency. And like, the phrase is,

it's like emergencies are for hospitals. Like, if no one's dying, there's no urgency.

And that phrase, that way of thinking about life, like, changes you completely because it's

right. Like, if no one's dying, chill, right? Like, it's not the end of the world.

Nothing will happen. We'll fix it. And, and it's just like a way of being in life that I think is,

is a lot healthier. At least, like, from the culture in, in, in Israel, that's very, very,

like, stressed and, and, and, and, you know, like, everything's an emergency kind of thing.

So, but, but it makes you realize that things can be different, right? And I think when you see it

in a place that's close to what you know, because a lot of the culture here is similar to what I know,

but then there's that one thing that's different. You're like, oh, so things aren't because I think

if you go to a culture that's completely different than yours, then you don't, you just see it from

the outside. You don't see those little, like, things. Yeah. Anyway, that was a long story of,

of how, like, changing things, I think, shaped who I am. Yeah.

No, thank you. That was wonderful. I, uh, I can, I can relate. I've, I've spent some time in Hawaii

and in Costa Rica. So, like, Aloha shoots bra is saying Hawaii. And it's like, you know, this,

this ain't the mainland slow down, this ain't the mainland. And then in Costa Rica, they have Pudevita.

And so, I, I, I totally hear what you're saying with that. And I love that I haven't, I haven't

ever thought about or heard, you know, if it's, if the urgency and emergency being, or thought about

how similar they are. And that's really a thing for, like, big cities, you know, here in the U.S.

or in places in the world where culturally, it's like, everything's always this got this urgency

and that how that's so, like, borderline emergency. And if nobody's dying, it's not an emergency.

So why are we all living with this, like, fake urgency? Yeah. So, and I wonder if, uh, as far as

moving a lot, I wonder if there's anything, I don't know, very possibly not, might be totally

random, but with, with Bitcoiners, having shared experiences on that. And, or if that brings any

understanding to Bitcoin, because of the, just the geographical, like, the lack of tether to a specific

geographical location, which Bitcoin can help bring you. And how I think that that's, you know,

definitely a feature not a bug growing up with a nomadic lifestyle and being able to move easily

in the very interesting and often scary times that we're living in, in the world today. So,

very fascinating. And that story about the painting is hilarious. I, uh, I guess, tell me a little

bit about your art journey and how, when did you start making art? And then, when did you start

making Bitcoin? So, I've always kind of made art, um, yes, since I was little, like art was, uh,

was something I love to do, um, just anything, like painting, making things. I had all these,

I was just like a few weeks ago, my son was wrapping this present for someone for, like, a birthday.

And I remember that I had a book about ways to wrap presents, like, just to learn how to wrap

in, like, really different and cool ways. And I had all of these books, like, that was my favorite

thing. I think, like, I never, I never understood, like, how to play with dolls and barbies and stuff

like that. I just like to make things. So, I think, um, yeah, it's always been a part of me.

But I think to do it, like, professionally, I have this thing that you can't live as an artist,

so you have to find something else. And when, like, before I moved to Spain, I, um, I started

learning alternative therapies by chance completely because it was kind of like, yeah, I didn't,

I was working in this place and I was actually, I had times and I had time in the morning and I was

like, I'll go to, to do, like, art courses or something in the morning. And someone said,

I, there's like this alternative therapy school close to here and they have, like, things in the

morning. I was like, I didn't, I didn't, like, for me, then, like, alternative therapy was this,

like, crazy weird thing. But it, you know, sometimes people say something to you and you're like,

in your gut, you're like, I'm going to, like, find out about that because I don't know,

something tells me to, I want to know more. So I went to that and then I kind of started a path

of, like, psychology, alternative therapy. I went to university. I kind of really wanted to go to

research. Like, it really interested me, the, like, body, spirit, body, mind connection. And I went

to, I went to university and started studying psychology and biology and philosophy. And I kept

coming to, like, the professors and saying, like, is there anybody studying, like, body, mind,

which today is, like, super mainstream, right? But all of them were, like, laughing. We're, like,

yeah, go away with this, like, bullshit. Like, this is a serious institution, right? Don't.

And that really, it was the, you know, because for me, like, going to university,

was supposed to be this place where you, you know, knowledge and research and finding things out.

And, like, very open. And all of a sudden, you realize that it's, it's a lie. You know, nobody's

opened here to anything, basically, not anything new. You know, unless you're in the, like,

the, the lane of what we're supposed to study here, they're like, this isn't, you know, this isn't,

this is bullshit. And it's like, well, isn't, isn't this place to study things that are supposedly

bullshit? Like, isn't that the whole point? Like, at least study it. And then you can say it's

bullshit. But anyway, so I left that. And it was kind of like a moment in my life where I was,

yeah, that, I mean, that kind of collapse and all kinds of things. And then I had this,

it's like, I've always wanted to do art. Like, that's, I've always wanted to do art. I was

had this like dream of doing it in Italy because, you know, like, just from studying art history and

things. And it was just a moment, you know, there's moments in your life where like, I don't like

my life, I don't like what I'm doing. I need like a huge change. And so I started looking for, like,

art schools in Italy. And I realized that first of all, I've been studying for a long time by

them. And all of these art schools were like four years in Italian. And then I found a,

like an art program in Barcelona in English. And I was like, I'm doing this. I don't know where

this will take me. I don't know what's going to happen. But I'm going to do this. And then after a

year, see what happens. And it was, that was like something that completely changed my life.

It wasn't, you know, it was this, I would call it, I'm going to, to kindergarten because it was,

it was like, every day we would experiment with something different. So it was like welding and

working with wood, painting, like, every day it was, it was kind of like this year that you can

experiment with all kinds of different techniques and then kind of find what you like, right?

And it was teachers that were, that were, like, experienced in, like, these different materials.

And you had your space in school where you can, like, stay and work. And, and, you know, I hadn't,

like, money set aside. So it was like just about that. And, you know, and it's like you have those

moments where like, fuck, I can, you know, I'm in Europe making art, you know, this, it, it came true.

I made it come true, you know, this dream. Yeah. And then just kind of life also happens, you know,

I met my husband in that year. And I stayed. And then, you know, that change was kind of like,

okay, now what am I going to do? Like, I can start over with, like, therapy doing, like, alternative

therapy here. But I still don't have the language. I don't, you know, getting, getting, like, your,

your, your certificates and stuff is like a big process to, like, work, you know, properly in these

areas. And I was like, fuck it, I'm going to be an artist. Because it was basically starting over.

So it was like, why is this more, why do, why is this more practical than this, right? It's just a matter

of like, you know, what you decide to do. So I got a studio and started working. I had a

side job, obviously, because, you know, it takes time to, to start, you know, making a living from it.

And yeah, I just started working and, and, and finding my voice as well. Because I know, apart from

that year, which wasn't really, which was again, like, trying new materials and stuff, I never went

to art school. So it was like this process of, of who I, you know, what do I, you know, like,

finding your voice or what you want to talk about, what you want to paint or sculpt or whatever.

So it was like this process. And then in 2017, I discovered Bitcoin. And I was, I was looking for

something to, to, to, to, like, something new to talk about. And yeah, you go down the rabbit hole

and suddenly you see, like, so many things, you know, like freedom and, and, and like a new way of

living a new world. And it was just so much inspiration. And for me in the beginning, I was like,

okay, I'm going to do like a series of paintings about this. Like, I don't know if you saw, but when I

write about it, when I wrote about this, like, series, I wrote, like, I don't know if this is a

thing yet or not. But it's certainly deserves to be painted kind of thing. It was like, so, so it

started as like, I just want to do a series. And then you get, I got hooked.

So the series turned into eight year, well, eight year counting.

Yeah, it's the series, the series is still going on.

It's still going on. Yeah, awesome. Okay, I, this is, I'm really enjoying this. I'm,

it's interesting. I'm actually very much a people person. Although these days, sometimes I'm like

burn it all down. I love enjoying people's stories and learning more about people, especially

fellow artists in a subject matter space that interests me as much as Bitcoin. And, and it's

funny. I feel like I know many people in Bitcoin very well. But I like realize I haven't had like

long conversations often. It's, you know, shorter exchanges on Twitter or Noster or wherever,

telegram groups and so forth. So it's cool. It's cool, you know, learning more about you.

I tell me, how did you start making Bitcoin art? Where was the, the point, where was your point

if you're willing to share where you learn the point and then how did it move into Bitcoin art?

So, yeah, like in, in 2017, in the beginning of 2017, there was a hack here of, of like the,

I think it was in the UK as well, like the hospital systems and it was like a big hack and they

were asking for Bitcoin. And that's, you know, it was like, oh, what's this Bitcoin thing? And that's,

that's where the rabbit hole started. And I was on Twitter at the time, but I wasn't really active,

but then I started like, you know, following people that were, but that it was just, you know,

the 2017 like bull run started. So it was a lot of like Bitcoin and crypto and everything. And,

you know, I have the normal, how do you get into Bitcoin cycle where I started with

crypto? Because at that time, there was Litecoin was really, really pumping and it had this meme.

I don't know if, if you remember, but it was like the Litecoin meme was like a rise chicken.

It was from this like weird cartoon or something. And it was all over like my whole feed was like

a rise chicken, a rise chicken. It was like, it was like the symbol of Litecoin. And I was like, I'm

going to paint a chicken on the moon because I love this idea of how you have memes. Like I didn't

come from like internet culture kind of thing. And it's found it mind blowing that that people

use memes that that that supposedly have nothing to do with the thing. And, and anyway, so I did

like a huge painting of like a huge colorful chicken on the moon with a Litecoin in its peak.

And I put it on Twitter and and someone tagged Charlie Lee.

I don't know. It's like the creator of Bitcoin of Litecoin. And at the time, he was one of the

most prominent figures like, you know, like one of the top figures in space.

So anyway, someone tagged him was like, this would look great in your office. And I'm not joking.

Like 20 minutes later, I get a DM from Charlie Lee. How much? No way.

And I wrote him and he was like, okay, do you take Litecoin? And I was like, of course I do.

And I was like, oh, fuck, like I didn't have a wallet. I didn't have anything. I didn't know how

to do this. So I was like, how do I get Litecoin? How do it like down? I need a wallet that I did

with that. And I figured it out. And like at half an hour, I sold a painting. And that blew my mind

because, you know, before I was like working with galleries, it took a long time. I always had to

know someone. And this is like fucking Charlie Lee bought a painting from me on Twitter, you know.

And is this, I'm on your website right now. Is it the, it's the arise chicken, see it, and it's

limited edition of six sold out. Yeah, but that was the, he got the original painting.

Okay. Well, did it look the same as this? Should I screen share this? Yeah.

Okay. That is, that is absolutely hilarious and awesome and epic.

Okay. Can you see it on here? Is this the one? Yeah, that's, yeah. Oh my gosh. That's epic.

Yeah. Okay. It was like an oil painting like this. And, yeah.

And it was in that moment that you figured out how to get your light coin wallet up and going.

Yeah. So I learned how to get a wallet. Yeah. Just because I needed to get

needed to sell the painting. I need to sell the painting. So yeah.

Which is funny because yeah, it's just like, yeah, it just kind of blew my mind. And then I started

doing other paintings. And then I get a DM from Zuko who is, you know, Zuko, Zuko is the

creator of Zcash. Yeah. And he's like, I want a painting. And I was like, sure.

So, so yeah, that was kind of my, and, and they're both super nice. Like I still, you know,

they're super nice and super humble. I know people have like, you know, say things and, but like,

I remember I was doing, I was doing a series about cryptography. And I wrote Zuko a question about

something, some algorithm or something. And he wrote, and you know, he's really, really humped.

But he wrote like, oh, he wrote, I think so. But I don't know, who am I to, I don't know,

kind of thing. And yeah, just like super nice. And so yeah. And I just did like a series of paintings.

Also about traders, I did a painting about not so fast. Which is if you go, tell me where to go.

Um, go down. No, no, no, in here in the same one. More, more, more, here, the, the crypto painting.

See, I even call it was called crypto, the, the series. Um, if you go in,

keep your click on that. Yeah, if you click on crypto paintings. Oh, is it not?

Oh, that's so strange. I've, I clicked on it. Oh, it's opening it in a new tab. Here we go.

Okay. So this is, this is the first series I did. Um, this is the last painting. This is a painting I

did in Charlie Shrem. Um, but if you go down, should I start at the bottom? Yeah. So this is the

chicken one. Okay. And then the next one is this one, which was, this was actually of also like a,

like a Twitter, he's not on Twitter anymore, but he was like a big trader in that in 2017.

And he was turk, and he was Turkish. So I was kind of like, this is kind of like the story of

the, of the, the trade, you know, the, how the big, also about tulip, like the trade between

the Dutch and the Turkish and that, you know, when like trade kind of like expanded and the tulip

bubble and, um, yeah, so it was this, this sort of format is very, very typical for like,

Dutch paintings in the 17th century, where there was like a person sitting in a room with like a

Turkish rug and a window. So it kind of like took that format, but painted this trader, um,

that was on Twitter with his like sports shoes. It was like a big, uh, yeah. So that was,

that's like the idea of this painting. So on the table. Um, yeah.

And then, yeah, this was like, it was big, like when Moon sir, right, this look, when, when,

you know, that was like the sentence of, of like 2017. So, so yeah, that was that. This,

the one on top is the painting I did for, for Zuko, because they were looking for a mascot for

Zcash. And, and I think the zebra was chosen in the end, but he wanted tardigrades. Do you know

what tardigrades are? Because I didn't when he asked for that. No, you're going to have what tardigrades.

You have to like look at it. It's this, they lit there. It's like this, there's like microscopic,

um, animal thing, I don't know, that lives in the ocean. But when you, they look at it, when you

look at it in a microscope, it looks like a little bear. It's crazy. Apparently, the really

dangerous in the water because they're, I don't know what, why, but they, they're like, um,

multiplying and it's like a really big problem. Look at that. Okay. It's like this microscopic thing

and look how it looks. That's. Yeah. Okay. And Zuko wanted tardigrades to be the master. Yeah.

He wanted tardigrades. So he said, like, I want a painting of tardigrades. And I was like, how

about I do tardigrades as like a zebra pack? Or these little things? Yeah. I, that blew my mind.

I'm going to be like three hours into YouTube videos on tardigrades. That's hilarious.

Oh, that's super cool. Yeah. And this is another, um,

trader and minor, not so fast. I don't know if you know, he's still, he's still on X in that time.

He was, he was super, super big and I did a, like, a painting of him about, like, mining and what

he does. Um, also super, super nice and supportive collector. He also bought the, um, the sound money

guitar, like a few years later. Okay. Um, so that's awesome. Yeah. And then, yeah, the last one is

Charlie Shrem. And like all of these, like, I do a lot of research for my work. So like, for this

painting with Charlie Shrem, I would listen to like loads of episodes of his podcast. He had a

podcast that's called The Untold Stories where he kind of like, talked about a lot of things that

happened in like the first years of Bitcoin. So yeah, it was super interesting. Um, yeah. So that's

my first series. That's awesome. That's an epic Bitcoin artist's origin story. Um, arise, chicken,

painting, bought by Charlie Lee for Litecoin. Yeah. Yeah. But it was like, it was, it was, you know,

it was like that peer to peer thing. It was, it was the real thing. Yeah. So all right. So tell me

then, how did you, it seems like in recent years, you've been more Bitcoin focused mainly.

Yeah. Was there a, I mean, I guess what was your kind of arc from the crypto, um, the crypto craze and

the crypto old season of 2017. And then 2021 as well had quite the old season to just moving more

towards, uh, Bitcoin, a Bitcoin focus. I think it was because I mean,

like if you can see a lot of the things I do, they take a really, really long time at, like,

I really like the, the meaning and the research behind it. And I think when, you know, the,

the Bitcoin aspect of it and everything that's around, you know, if you talk about like

the, the, the freedom aspect or the culture, it's just, it's, it's just more rich, right?

It's like the base of it all. Um, so, so that's why like the focus was more on that.

Um, in, in 2020, I, I did do, um, NFTs. They were always about, but they were still always about

freedom, like about, about freedom, about asking like what, um, you know, who,

who are we listening to? What are the, how ideas affect us? What ideas are we choosing to, to

follow? Um, it was always about that anyway. I did a series about cryptography about like the,

I read the book, The Codebreakers, you heard of it? I heard of it. Yeah, super good book. Like,

it's, it's a book about the history of cryptography from like when it was invented basically.

Um, and so I did like a series about, about cryptography and specifically about all of the,

all of the cryptography that was invented until, you know, leading to Bitcoin. Because people,

because I think it was important for me to talk about that, because I think a lot of people

before, you know, that when you just discovered or you still don't know, sometimes it feels like,

you know, the Genesis block, like it's this thing that, you know, came down from heaven or something.

But, you know, there was loads of people that invented things before that, right? Even like

the, the public private key thing, you know, these are all things that, you know, Satoshi in the end

just figured out how to take all these things and create something new. But so many people

contributed to, you know, all of the inventions that enabled it. So, so it was like a series about all

of these, all of these people and the cyber funds and like all the, the movement that led to this

as well, which I think is super important to know as well. So, yeah, and then, and then I kind of did,

like if you look at the, the harpoon, the guitar, the cloak, the, the, the drum, the, like the musical

instruments, it, it's also kind of like, I don't know, like a quester trip around Spain, because all of

these, all of these pieces are, are like special artifacts that are made in different regions of

Spain. So, like the harpoon is based on the vast country and the story of the vast. I kind of like

took the story of Spain and created this story of Bitcoin around it, because the idea for me is like,

you know, history history evolves in spirals, like this question of revolution and freedom,

it already happens. And so, you know, in different times in history. So, it's just to say what we're

doing now is new in a way, but it's also based on like other things that have already happened.

And so, I'm taking like, so the idea is like to take stories of things, like the story of the

harpoon is a story of like the Basque Whalers that in the 16th century, like, you know, crossed the

Atlantic Ocean to get to the shores of Canada, which was then a big, you know, thing. And, you know,

it's like a story of new frontiers of like dangerous new paths kind of thing. And, and the harpoon

is made, like you can see here, it's made from a, from a Basque walking stick, which has a super,

super interesting way that they make it. I found, if you look in this video, I found

this artisan that still makes it like how they would traditionally make it. So, it's made from

medler trees. And what he does is he goes to the forest, the thing with medler trees is if you,

if you carve on them, after six months, the tree makes like a scar on the top. So, it doesn't stay

like carved, it like creates a scar. So, he goes to, like you can see them on the wood kind of,

and get some of the photos. So, he goes to the forest, like with a knife, and goes to the trees,

and makes like scars, but in like certain, you know, he has, he does like patterns and stuff.

And he always does like one branch out of the tree. So, he doesn't like fuck up the whole tree,

he just does like one branch. And then six months later, he comes back and they have like the scars on

him. And then he'll chop, see like this, like these scars. And he'll chop off, chop up that wood.

He, the wood like goes through this treatment, it dries for like 10 years. This is like a family

that's been doing this for generation. And so, they have like, you know, supplies. And then

that wood dries for like 10 years. And then they make a walking stick. It's like a, it's like

of the part of it is from silver. Like the, the bottom parts is from silver. The top part is from

leather. And it opens up in the top. So, this was used by like people that would go, you know, with their,

with their flock like to the, to, to buy themselves. So they, so it has like a hidden weapon inside.

So when you lock them at top, it's like a sword. It's like a knife. Oh, yeah. But you can't see it

because it's like, that's why if you look at the, if you go down, if you look at, or I don't remember,

if you look at the photos of the harpoon, you'll see that in, that it opens up, see there. Yeah.

Yeah. And there's like a sword. Um, the ones I make, if you notice, there's like a little ball

at the end because they do actually send a lot to the US. But they, like at customs, they had to

start putting this ball because if not, it's like, consider the weapon and to, and today it's like

more like a, yeah, but it's super cool. And then if you can, I got, so the, so the top part with

the beat is like a horn. And I sent it to this like laser, laser, what do you call it? Like a laser

application engraving place. Yeah. And so to engrave like the B on it. And then on the,

like the silver part below the horn, you can like, if you, so I'm selling, this is like a series

of 21. And I'm selling them as commissions. So the idea is that all of the harpoons, the harpoons

by the way, are they exact size of the harpoons of the basketballers? So I called like, there's a

museum in the, in, in Canada. That is about like the story of the, of the basketballers. So I

called them and I got the exact measurements of the harpoons. And the funny thing is that I, because

I came to this guy's name is Ben, yeah, he, he doesn't do harpoons, obviously, he does the walking

sticks. And I came to him with this idea and he was like, yeah, I love it. Let's do it.

But to make the harpoon head, he's not a welder, right? So I was looking in that area for a welder

and I found this guy that I really liked while I really liked his website. And I came and was

explaining to him like this, this project and he was a bit skeptical because I said it was

bit quite related, but he eventually like started learning about it. But I said, like, I need,

I want you to make the harpoon head. And after like talking to him for like a while, he was like,

you know, I actually make the replicas of the harpoons for all the museums of the basketballers.

And I'm like, why didn't you say that? No way. Yeah, but it was like, it's like one of those

moments where like, okay, you're the guy, right? Yeah. So yeah, so it was like this project, you know,

to get because also the harpoon head needs to be like a certain measurement and you have to find

the right stick that has the exact same like diameter that fits into the harpoon and then get like

the horn part and get it engraved. And yeah, once the harpoon was made, because I do the paintings

on top. And the idea of the paintings is it just tells the story of the person who's commissioning

this. So with all kinds of like symbols. Yeah, this is the first one I did, which was kind of

about our family. So it's like all kinds of symbols that mean things to us. This is the harpoon

which got lost. So Bucky UPS. This was like, it's funny because people ask me a lot of people,

you know, with art, they're like, how do you let your paintings go? And for me, it's the process.

Like I get super into the process and making it. But when a painting's done for me, it's like,

I don't know, it's like this process, emotional process. And once it's done, it's done. So I'm happy

to like, you know, give it away. And this is seriously the only art piece that I was like, I'm not,

this is mine. And I had like a connection because it was just like telling, you know, our story on it.

Yeah. And then fuckers lost it. Oh my god. That's one of those like definitely kind of cosmic

irony situation. Yeah. For sure. For sure. Oh my gosh. Yeah. This, the first one I did, this was

actually. So I apparent. So I, whalers. So there were whalers, like there were basketballers,

and there were also whalers from like the, the, all the region of like England and Iceland. And

because they were at sea for like days and months, they would, some of them would take like bones

from whales and engrave on them. It was kind of like art they would make on the way kind of

because, you know, they just to do something. And I guess some were artistic. And you didn't have

paints and stuff obviously. So they would take bones and just with the knife, do engravings on

them called like scrimshon engravings. So I took, I like looked that up and, and took some engravings

that I found and kind of replicated them on this part of the harpoon and like the bottom part of

this one. So to kind of like tell the story of the whalers as well. That's absolutely. I

what, what, you, you had one of these at Miami one year, I believe?

Yeah, I did one, like one of the 21, I did a, it was the halving harpoon. So I did a, I don't know

if I have that on my site actually, I think I don't. One of the things I need to add.

I remember the harpoon there, but I, you know, with conferences as always, they're super busy and

I think I had artworks there myself. So I didn't, I'm going to have to read through this whole page

after this maybe tomorrow, because this is so fascinating. And the, the level level of depth on

this isn't, isn't incredibly more than I thought. You know, sometimes when you're at an event

or at a gallery and you see other artists art and you're like, oh, that's cool. And then you know,

you know, you know, if you're, especially, well, I mean, sometimes it's just, there's a lot

going on in its entirety, but especially if you're like exhibiting your own stuff,

you don't really have time to like catch the stuff. Yeah, yeah, first artist. And so I'm absolutely

blown away by this. And I'm going to have to spend some more time on, I'm going to read through

this page and watch that video of the guys, the family that makes the, the walking sticks,

that's the wood that you used for it. And that is, it's amazing when there's families out there

that are preserved. You know, yeah, that's, it's like the other, the other artworks. Sorry.

No, no, you're good. Just things that they've been doing for so long.

Yeah, yeah, yeah. And, and that's why, and they're, you know, there, there's hardly any like

art descents like this left, right? That, that it's like a generational thing. And, and so,

and, and they're super nice. Like I love working with them. And like all of these, you know,

the cloak is the same story. It's like another region in Spain. It's like this artifact that they make

there, that they wear it and like ceremonies. And it was kind of like the same thing. Like,

you, we kind of used my art projects as like excuses for taking vacations and like going to these

places. And like, so every time, like all of these artworks, they're, you know, we would go there

and like get to meet people, talk about like their traditions. And this was the same thing. Like,

we went to this, it, this isn't like the west part, the wet north west of Spain.

You know, we went to this, to the place that does like the world, this is made from like

wall of black sheep, which I loved like the idea of it. So we went to the people that, you know,

the people that have these like endangered black sheep. We met, you know, the seamstress that makes

these cloaks. I don't like, I, I designed the cloak, the, not the cloak, but the, the, the different

kind of embroideries on the cloak. And I do the, the colorful embroidery like on it. But the black

parts is, it's also this like traditional way of doing this, which I don't know. And so I love

doing these collaborations with people who have, you know, these like traditional ways and have

been doing this also for generations. So there's something special about bringing some such old world

craft to and bridging it with Bitcoin, which is in so many ways a tool for, I think, I feel,

and I know for many of us, Bitcoin is a tool in which we hope it can help bring us

back to the old world ways. Yeah. New world. It helps us back to the old world ways.

Yeah. And these things have have like a history, right? Like this cloak was brought to Spain by the

Roman legions. It was then worn by months and then by shepherds. And I was like, this is so perfect

for it to describe like the hotlers, right? Like what a hotler is because or what like a Bitcoin

maximal, you know, this like determination belief, like so, you know, this like army in a way

to protect this idea. And, you know, monks that, you know, that you have this idea and you dedicate

a lot of your time and your belief to it. And, and then like the shepherds leading, you know,

it has like all these ideas in it as well and all this history. So a lot many, many, many parallels

there. Yeah. Yeah. And this cloak, I remember this cloak was at was it 22 Miami? Yeah, I think so.

Okay. I remember the cloak as well from Miami. But I also didn't get the full story on it once again.

So I'm also going to have to read through this whole thing.

For all of these, all of these have like really long stories. And, and you know, they all have this

like rigorous research aspect to them. And I always go to that region and and meet people and talk

to them and kind of understand where it comes from, where the tradition comes from. And, and yeah,

that's, that's Rafaela, that's the, the woman that makes the cloaks. And, and yeah, and all these

people like super nice, because these are like, you can see here, these are like the traditional

black designs. And then I was like, can we do a different design?

Yeah. Because I wanted to do like, Miracle trees and then like the, you know, the 21 and,

and, you know, the infinity sign and all that and hoggler. She was like, sure, send me like, send

me the design and, and, and I'll do it. And then after that, I embroider like the number. This is

also like a, so you can see it's like one out of 21. Yeah, it's also a series of 21.

So the, so it's, it's also a commission. So you commission like the cloak, we can change a little

bit the design. And what I do is on the front, on one side, I do, like I made this like, um, like

brotherhood symbol of the toddler, which I put on once, like I embroider on one side. And on the

other side, you can have, um, you can embroider whatever you want. So well, I embroider whatever you

tell me. So it could be your name or, um, I had someone order one and wanted like an embroidery of

Pepe. So was it Eric, I believe Eric, does Eric case and have one of these? Yeah, Eric

case and has one. Okay. Did he get the one in Miami, 22? Am I remembering it? No, that, the one

in Miami is in the Bitcoin museum in Nashville. That was, yeah. That was number one. And it's in

the museum and, and, um, yeah, Eric got another one. That's awesome. That's so cool. Awesome.

I want to have to come back and read through this. I want to ask more questions, but I also don't

want to run this for too long. And, uh, so I, I, I need to know, you've got to tell me about the

Bitcoin, because, okay, because chief monkey, you did this with chief monkey, right? Yes, right.

And big dot rocks, chief monkey is shout out to chief monkey. He's one of the biggest sponsors of

Bitcoin art magazine and one of the best people in the Bitcoin space. He's the head all around

chief monkey of and mastermind behind plebian market. So if anybody happens to be listening

to this and doesn't know what plebian market is, you got to go check out plebian dot market,

but it's a decentralized marketplace built on the master protocol. And it's, uh,

absolutely incredible piece of freedom software tooling that is, that is really, um, just,

that it's just absolutely awesome. So go check out plebian and huge shout out the chief monkey.

Yeah. And they're working, they've been working on this super, super hard. And they're all about,

all about the Bitcoin standard. So yeah. Yeah. Tell me a little bit about this.

Just this is like an hour podcast. Yeah. Well, where do I start? First of all, um, this work, uh, we,

you know, the both of us had me and chief monkey. We had hours and hours and hours of talks on

literally every like brushstroke color layer of this thing. So it was like after that, like,

we did this. It was chief monkey and, um, and mosaic rocks and, and it was like after that, we were like,

oh, we should have, how did we not record all of these talks? Like, because it was just about

every part of it. So what we did, um, so, uh, I don't know where to start with this. This is,

for those who don't know, the Babakakra, the one on the right is the, it's the Buddhist, um,

it's like the cycle of life, right? It's a cycle of samsara. So in the Buddhist tradition,

they say that life is, is like, um, you know, it's like the suffering you go through this, um,

suffering in life and the, the objective of, of this world is to get to a Nirvana or to understand that,

um, we need to like keep our, um, you know, what's going around us is just the suffering of the

world, but what's real is like our soul or what's inside and we have to take away all these bad things

and, and once you realize that you're just part of everything, then you reach like Nirvana and you

get out of the samsara, like out of the, out of the, the realm of, of suffering, right? And there's,

and it has like the four layers. So the, the, um, the, the, the, the one in the middle is the three

poisons, um, of life, which I think is like great. Now, I don't remember the, the original one,

so I don't want to, um, but I think it's like greed and envy. It's like the, the, the three things

that are that make us like suffer the most in life, um, and then there's like the, the other one

that it's like you either ascend and learn or you, or you go even, even more like because they say

that if you learn in this lifetime, then that your next lifetime, you'll be like in a higher realm.

And that's how you kind of ascend or you go into a lower realm. So like according to Buddhism,

everyone, like if animals, people, like we're all in different realms of our, um, ascendance, like

to Nirvana. So we kind of took this idea and took it to like the Bitcoin or the fiat samsara,

like the fiat wheel of misery and how you ascend to Bitcoin Nirvana. Like that was our, that was

our idea. So for us, like the three poisons were war, like monetary, like if you look in the

beginning in the middle, it's like war, uh, monetary policy and propaganda that is delivered

through the media. And, and then the next, yeah, you're gonna go. So all of this, like if you look

what, how we did it was like, so chief monkey did the layers. If you, if, if you haven't checked out

his work, also go, it's like his site is hotler.rocks. He has incredible work. That's like laser,

um, laser cut, um, pieces that are super, super cool. Um, so he did like the layers. And each part

here has something like this is fang. Like because it's, it's the fangs, but it's also like the,

the biggest, you know, it's like Facebook, Apple, Amazon, Netflix and Google. It's like the,

the, the ones who are sucking, putting their teeth in our, in our like neck and eating us.

And then there's the, the five poisons that's also part of the, like the, if you go up, um,

yeah, these are like, so we took like the main current, the main fiat currencies, which are like

the five poisons. We have cowrie shells, which were like, um, one of the first forms of money that is

on there. Um, yeah, but for people who are listening to this and not saying it, you, yeah, you can go

to either of our websites and check it out. This is also, um, there's also, uh, um, this was written

about in citadel 21 and in the bitcoin magazine. And there's like a super long explanation,

because it, but you have to see it. It's like really hard to, to explain if you don't see how it looks.

Thank you for thinking of that because I'm totally just zoning in on it and checking it out.

I totally forgot that this will be going out on, uh, art and rss speed as well without visuals. So,

yes, to reiterate that, if you're listening to this and you're wondering what on earth we're talking

about, please go to yonavox.com and you can check out each of these pieces of artwork with, uh,

multiple photos and an extensive story written around that all. Uh, so, and then there also are some

green share, uh, shots of it on the video recording that we're doing right now, which is available

on YouTube and rumble at bitcoin art mag on our channel. So, yeah, and then we'll go check out

hotalair.rocks, chief monkeys work. Yes. Long work, leave you in market. So,

yeah. So anyway, the second layer, we did like the fourth turning, which is another rabbit hole in

its own. Um, you know, the fourth turning is, um, is this idea that every generation goes through,

um, that kind of like history works in cycles and every generation goes through something else.

So, and creates like the next thing, right? So, if we look at like the, you know, like the world war,

if we look at like the past century, the world wars, um, war generation, that was, it's kind of like,

um, what, what is happening now, like a turmoil and, um, like a lot of things in the world are, are,

you know, like war and conflict and turmoil and then from that comes like this generation or 25

years where there's kind of like a quiet, um, you know, it talks about also like the generation, like

your, um, the way you are, like part of your identity is shaped by when you were born and what you

grew up through, right? So, it's super interesting if you, if that, you know, that sparks your

curiosity, the fourth turning is a very interesting way to look at history and understand that it

works in cycles and, and, you know, that things kind of like, um, yeah, that we need to learn from

history to understand what's happening now and what, what, what might come later in the future and

how our identity is also shaped by the times we were born in. Yeah, and then the, the, the second

cycle is like the six realms. So, there's, um, it's like the six realms of where you were born

as, as, um, like in what part of the samsara are you? So, the top one is the god realm,

um, which we put as like Bitcoin Maxis, which is like the realm where you kind of get it. So,

we have, um, there's like the rabbit. Also, the rabbit, the rabbit is something. If you look,

it comes out in, in a lot of the parts because of like, you know, the rabbit hole and the whole

meaning of like, um, the rabbit in different cultures. So, it's something that comes along. You

can see it in like different parts of the Bavokakra, like, in general. Yeah. Um, so there's the semi-god realm.

Um, we did, like, we did, this is like the god realm. I think if, like,

yeah, I have to go back and study the, the real Bavokakra again, but I think this part we did,

like, crypto traders. So, it's like people that understand or know about it, but don't fully

understand like the meaning of it. I don't remember what that is in the, in the real Bavokakra.

I think it's like this form of gods that are just hedonistic, um, you know, they're, they're here

to enjoy life, but not like the meaning of it kind of. Yeah. And then on the left is, we did all of the,

like plebs. You can see someone like stacking coins, like stacking sets. And then there's the rabbit

with the 42. Um, this was, uh, again, shout out to chief monkey, because, you know, the, the book

that, like, the meaning of life, the book, um, yeah, yeah, that the meaning of life is 42. So,

we were like, well, 42 is 21 times two. So the meaning of life is like 21 times two.

Yeah. And we were doing this. You can see like a, a writer from Hong Kong. We were doing this one,

like, that was a big thing, like the riots in Hong Kong. And, um, and then we have in the back,

like freedom fighters. And there's a, the bird is a kuku bird. So I have another piece that

talks about this. This is, it's, it's from a, um, from a Greek comment from a Greek, um, like,

comedy from, um, you know, they, they would have, um, these ple, like comedy plays. And there was a

comedy that was called the birds. And it was about two people that were like fed up with taxes and

Athens. And they went to the leader of the birds. And they said, we want you to help us create

this other world in the sky, um, that, that where we can be free, like, you are, like, the birds. And,

um, and, you know, one of the birds was a kuku, like a kuku bird. And that's where the,

and that's where the saying, like, your kuku, like, your crazy comes from, like, what do you mean

you want this other world? Um, and it was like this phrase that we'd use, like, with, um, with,

with Nelson Mandela, they were, you know, they were saying, like, anyone who thinks, like, this

party will one day rule South Africa is kuku. It's like this, it's like, you know, it's like this

phrase that was, that's used a lot to describe someone that's crazy. So, so I used the kuku bird a

lot to like, you know, be kuku, be that crazy person. Yeah. And then the 12, um, and then there's

the outer layer or the 12, um, things that keep you in the samsara. They're like the ways that keep

you in the suffering. So these are like the ways that keep you in the fiat samsara. Um, so it's

like lack of education, the divide and conquer that, that, that, that governments try to do to like

get you away from paying attention to the, to the real thing, you know, the lack of education,

we did, this is like the pink Floyd cover, we don't need no education.

Um, the one in this one, yeah. Yeah. Um, of the song.

That's so, this is the, the amount of detail in this year right, this will need a whole entire

episode of it. So, they're by the way, there it, this was auctioned on scare city. It was one of the

first auctioned on scare city. And there's somewhere there is like an hour and a half long where,

where chief monkey and I talked to Chris and go over like every little detail of this. So that's

somewhere, I think it's on YouTube. If you can find that, please send it to me.

Okay. Yeah. Let me check. Right. I think it's on YouTube on.

Oh, you guys have a, there's a book describing each part of the, yeah. Yes, we have a book

describing all of this. So we still have some copies left. So if anyone wants a book,

you can, yeah, or chief monkey. Um, and we will happily, I'm going to have a copy of that book.

All right. I'll send you. They're all gone if you have anymore. No, no, we have, I have, I have a

few copies left. I'm going to help you. That's it. That's it. This, this is like a super secret

grail drop right here. Anybody listening? Yeah. Hit up, you know, not and see shooter and email

info at you, not box.com and see if you can score yourself a copy of this book. So unless you

guys plan on printing more of them, but you got a first edition, even if they print more of them,

I want one of these first edition ones. Yeah. They're both, they're, they're signed and, yeah. So we,

I sent you, um, I sent you a, in telegram, the, the recording with Chris. Okay. Awesome. I'm

going to push that out on all the channels. But yeah. So, yeah. So there's still a few copies

of the book left. And if you see, we have a dedication on the back that you can see there.

This work is dedicated to every pleb cyber hornet and hodler of last resort for believing in and

working towards a brighter future. It's your relentless optimism and positive action that is

going to make it happen. You are an unstoppable force of nature whose time has come. Stay weird,

you fucking weirdos. I love it. This is awesome. Oh my gosh. Okay. We're coming up on an hour in

25 minutes here. So I'm thinking let's bring it to a close for this one. Just so we don't run

this too long. I, well, unless you've got a bit more time here, I'm also happy running it a bit

longer. What's your, what's your timeline? Yeah. I have 15 minutes. Okay. Let's, let's,

let's kind of bring it to a close then and probably cap it at right around an hour and a half.

And then definitely we're just going to have to do another one where I ask you more questions

because I now after talking to you for an hour have like like a hundred more questions.

Which I feel like it's off and how it goes. I'm like, well, we're beginning and so we'll have to do

another one. But also we'll be doing these round tables. So I'll probably get to learn a little

bit more about you on those and about your artworks. But I want to do some, like we got to do another

episode and maybe just like just talk about like two one even piece of artwork or two pieces of

artwork. Because you have such stories, I had not realized you're not quite how in depth your artworks

were. So shame on me for that. But I'm absolutely going away right now. I've got to pull this one up

real quick because this one is featured in the Genesis edition. Yeah. If you click on it,

is that not clear that when you click on it, it opens. I need to change that. No, it is opening

in another tab. Oh, okay. Right. Sorry. Oh, and I don't there's not a full picture of it on here.

Oh, that looks okay. I need to work on my site. Yeah, you got a photo on here because some of

these figures are all so such. This is this series you did is so good. Yeah, that does not look

good. But it's they're cut off, which on the one hand is kind of cool because it's like if you

want the real deal, then you got to, you got to see it. I think the mission in person. But we have

this featured and this featured in the Genesis edition of Bitcoin Art Magazine. So I got to do that,

you know, got to go to take a lot of fun. I've got to drop real quick. I got to drop a coupon code

that gets you a free copy of the Genesis edition, limited edition of 1700 and 20,

our standard issue. And that coupon code is for anybody listening to this, whoever gets it,

gets it first come first serve. The coupon is Bitcoin Art Podcast. Yo, not 21. That's all

lowercase. And that's Bitcoin Art Podcast. Yo, not 21. And that's no spaces. And that is

21 as in numbers at the end. Everything else is all lowercase, no spaces. Bitcoin Art Podcast,

Yo, not 21. Whoever just heard this, go grab yourself a free copy of Genesis edition of Bitcoin

Art Magazine. And let me, where did my top go? Oh, no. It's still on the screen. I know, but I

now have, here we go. And we didn't even, I didn't even, we didn't even get to asking about

your inana project, which I want to talk about. But yeah, maybe give us a little brief because

I think you've got that on the top of your home page here. Yeah. So this is going to be harder to

talk about because it's still new. And for me, I always say, I would say that if I, that if I was

good with words, I wouldn't need to like paint or make art. So I mean, like I talk about other

projects because I did them like years ago and, and, and they're already like clear in my head.

This one I'm making now. So it's not back clear in my head, but I can tell you my thoughts about it.

I was, it started like, I was in the exhibition that was about like goddess, like goddess sculptures

from the past, like archeological findings from the past. And I kind of like went down the rabbit hole

of religions and how religions changed over the years. And there's this archeologist that says

that you know how like monotheism kind of like before there were like gods and goddesses. And

she says that the fact that there were both, there's archeological evidence that the societies

were different. So she says there's societies that had gods and goddesses. There's like no

side, there's like no fortresses around them. There's no sign of, of, there's like thousands of years

without war. And she kind of says that what happened, you know, people say like the patriarchy,

the patriarchy, and now there's like this movement of bringing the matriarchy, right? And she says,

no, like it's, that's not the point. The point is that these systems that we feel are like

quote unquote human nature is, is a system of dominance. So there's no difference between a matriarchy

and the patriarchy. It's just someone else is dominating, right? Someone else is on top of this

like ladder. And she says, she says there's like archeological evidence that societies were built

differently. So not as like there's someone on top. And there's all of these like people on the

bottom. And it's just power structures, but it was more a partnership society. So I think,

I think the best ideology that kind of is in today's world that talks the same is like anarchy,

that there isn't like this dominant structure, but they're still, you know, because when you talk

about anarchy, you're like, okay, it doesn't mean there's no power, but it's distributed differently,

right? So if I go to the doctor in that situation, the doctor quote unquote has more power over me,

because they have more knowledge, they have, you know, they're still that structure, but maybe

if I meet that same doctor in a different situation, then I'm the one that has more knowledge,

right? So it's, so it's not like there's the same person that's always on top and in power and

the people on the bottom. Because if you look at most ideologies today, like capitalism, communism,

socialism, in the end, she says like in the end, they're all about the same thing. It's just who's

in power, but the structure is always the same. There's someone on top and that makes all the

decisions and there's someone on the bottom. The only thing that changes is who's on the top,

right? And she says, that's not human nature. That's not necessarily human nature. There were,

there is proof of societies that lived differently, that lived in like more equal power structures.

And so Inana is kind of, Inana was like the first goddess that there's writing about,

that you can read her story kind of. And her story is that she descended to the underworld.

She was like this goddess queen kind of thing and she descended to the underworld by taking off

all of her her like identity and jewelry and all of the things that made her like powerful

and kind of learned who she was and came back. So that was that's why the name. And then it's a

series of chalices under because from the idea of the Holy Grail. So the stories of the Holy Grail

are stories of like a search for meaning, a search for who I am in the end. If you look at what

it actually is, it's like a search, you know, it's like the search of what is the meaning of life

and you come back with some kind of understanding. So this is like, and then you like Carl Jung,

who is a psychologist, he said that the Holy Grail and Christianity and like monotheistic religions

is the search for the lost feminine. So it's like two, it's like a lot of ideas together.

I don't know if it makes sense. In my head, it does. I still don't know how to like take it out.

But for me, it's like this, this thing of it and it's connected to Bitcoin and that that like we can

society doesn't have to be like we're told that it is there it can be in a different way. There's

archaeological proof that societies that were societies that lived differently and let's look

at that. Like let's look for the meaning, the Holy Grail in the world that we live in today and

how we can change that. And the part of like the feminine or the lost feminine also I think is like

from this, it's like saying like I think it's super important that women are you know,

there's so many places in the world where we're rights of women are being taken and we're going back

in time. So it's super important to have that and like in our in our in our thoughts and in

something to to to to work on and maintain. But it's also super important to know that it's not like

now women are in charge. It's like no, the idea is that we can create a society that's different

where we work together and and create something that's meaningful for everyone. And part of like

I think women trying to be in charge is that it's like we're trying to

I think I have to go. You've got the it's the it's like the siren.

The swing of the pendulum and and maybe yes, maybe the goal is a is a balancing and an equalization

and an uplifting um yeah of the divine feminine and masculine and yeah and also like women don't

you know it's like a lot of women are saying like no we can be powerful and strong and kind of

like saying we can be men. And it's like well the whole thing of if you're saying you can be a man

then then there's something in that that you're saying that the qualities of being a woman are

are something to look down on and and you know it's like no yeah I'm you know women in general

are more sense you know like sensitivity is not a bad thing like we're taught it's a bad thing

you know the um hide it or or be like strong well there's you know we need both of that we need

the strong and we need the sensitive like a world without sensitivity or empathy or or

collaboration it's not a good world and it's kind of like that's where we're living in today so

like take the things that you have and stop putting them down stop saying they're they're like a

um a a a you know I have to go sorry you go this okay so much for your time and let's do it

again and we'll talk soon and you go I'll close it out all right all right all right and we'll do

okay you're okay okay okay go go get one all right all right

awesome that was an excellent conversation with you not vox

uh I feel like we were kind of just getting started and it's been over an hour and a half

to anybody who's listening right now anybody's still listening shout out and thank you very much

for listening and this is the bitcoin art podcast presented by bitcoin art magazine and on this

episode we featured you know not vox who is a phenomenal bitcoin artist and who is also going

to be posting a series of episodes or a show also presented on the bitcoin art magazine channels

and the name is not fully settled yet something along lines of the movement of art

and they'll be round tables of sorts with different artists and culture leaders in the space

uh around bitcoin and yeah so appreciate you all big shout out to all of the patrons

and supporters of bitcoin art magazine if you haven't picked up your copy of the Genesis edition

head on over to bitcoinartmagazine.com and grab yourself a copy of the Genesis edition of bitcoin

art magazine big shout out to all of our sponsors who have also along with our patrons help make

this possible and a huge deep heartfelt thank you to all of the artists in the world creating

beautiful bitcoin art who have been so kind as to allow me to curate this

seminal piece of work i would say and first of it's kind publication so thank you all thank you

very much and please tune in next Thursday at 12 p.m. pt for another episode of the bitcoin art

podcast

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