NO NFTs

I’M NOT a fan of social media.

If it happens that you find me on them it’s just in order to showcase my doodles, paintings, music or books. Other than that, I barely interact with so called friends and similar, preferring to keep otherwise my contacts.
My lack of responsiveness to likers, commenters and – most of all – followers is maybe the reason of the quite moderate number of these last ones. As a matter of fact, I never embraced the idiocy of follow back regardless of real interest – which is, by the way, the kind of behaviour strongly promoted by the very platforms themselves.
This is quite evident on such digital little places as Instagram.
Other than the usual promotion-seeking crap that I immediatly delete, recently a new wave of semi-fraudulent comments has risen to prominence.
This coincided with the widespread of the new tech-toy for art-plus-finance enthusiasts: the NFTs plague.

Not For This, sorry

“NFTs are just crap, so please don’t ask me for them”

This is the line I wrote as warning panel on my page at the very early requests of such revolutionary, exciting way to sell art, which is nor revolutionary neither exciting.
The opposite, instead: it’s a reactionary, selfish closure against what art is – or should be – for more than a century – specially after Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction.
Please note that this form of trade adds nothing to artwork’s value in itself, it’s just a virtual and very volatile market value as long as this market holds on. It’s just to certify the propriety, the ownership of an original piece – something that digitally simply makes no sense. A way to say “hey folks, watch and envy, this is mine“.
If the issues of this un-revolutionary technology would be limited to this, it only went to add up to the bunch of nonsenses of disturbed self-inflated egos and similar deranged people. Unfortunately, it has huge drawbacks for everyone on the planet, even for those, like myself, that don’t give a [you fill the blank] to NFTs.
Yes, ’cause, as all the blockchain technology-based stuff such as cryptocurrencies and assorted sillynesses are, NFTs are a hungry devouring-energy monster in nice disguise.

“Hey, you could be a millionaire!”

Despite my unmistakable warning on the doorstep of my Instagram and facebook pages about my art and even after I begun writing “> NO NFTs <” in each and every post, comments asking for NFTs – and even direct messages requests – don’t stop coming. This not only goes to prove once more that people don’t read or, sometimes, think when on the web, but that this Non-Fungible-Tokens art-buying trend is fundamentally stupid.

I have even received some messages pointing out that I’d be a real moron if I’m not selling NFTs. You could earn millions!

Now, it’s a well known fact that the most part of these NFTs buying proposals are actually scams (like commission requests have once been): luring you into paying a NTFs-making Platform, then asking for money to pay some distribution fees or other taxes, and finally disappearing without buying even a small pixel.

So, what?

I don’t expect anything special from this post. The (fake)-NFTs-buyers will continue to spam their request without understanding that here they have taken a dead-end alley. But if just one of them, reading these lines, will realize and stop pestering me and the rest of the world and get a life, that’ll be good.

Maybe I’d reward her/him by turning this very post in a NFT and send it to them.

For free!

-mb

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Check my art on Rise Art.

Maybe Later | Casomai più tardi (2010)

Marco Bigliazzi – Maybe later | Casomai più tardi, acrylic on cardboard | acrilico su cartone, 70×50, 2010

This painting served also as cover illustration for my first mystery novel “In Bianco” (2015)

Apple Corer | Cavatorsoli

Marco Bigliazzi – Apple Corer | Cavatorsoli – acrylic on canvas, 50×70, 2004

I’m reposting this one for two reasons: a higher resolution picture and I like it. Today it is part of a private collection along with an almost-twin brother, titled Can Opener and a smaller one, Garlic Press.

Shake Before Use | Agitare prima dell’uso (2019)

“Shake Before Use”, acrylic and marker on canvas, 60×120, 2019

I often use different acrylic types in order to create layers that differently react to light. Below you can see the matte and the shiny ones under two different lighting conditions.

Uso spesso vernici acriliche di tipo diverso per creare strati che reagiscono in modi diversi alla luce: qui si vedono gli strati opachi e quelli lucidi in due diverse condizioni luminose.

404 – Not found

Marco Bigliazzi – 404 Not Found, acrylic on canvas, 80×60, 2010

Please note: you haven’t reached an unexisting page – 404 Not Found is the title of this one.

NB: non siete arrivati su una pagina inesistente, 404 Not Found è il titolo di questo.

Vietato calpestare le aiuole | Keep Off The Grass (2019)

Marco Bigliazzi – Keep Off The Grass | Vietato calpestare le aiuole, acrylic on canvas | acrilico su tela, 100×50, 2019

Keep Off The Grass, a prohibition that you usually find in parks and gardens, which immediately makes you want to step on it.

Vietato calpestare le aiuole, un divieto che di solito si trova nei parchi e nei giardini, e che ti fa subito venir voglia di calpestarle.

Vietato fumare | No Smoking (2019)

User comments

Smoke At Your Own Risk could be a better title for this one. I’ll think about it.

Fumate a vostro rischio potrebnbe essere un titolo migliore per questo dipinto. Ci penserò su.

Me and some colourful doodles

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And here I am, in my studio (digital/cartoon/writing side) with a bunch of painted doodles of mine from the past years (2018-2021).

I have plenty of them so, in case you need an artwork to cover-up a spot on the wall or something alike, they are for sale!

Check them on Rise Art.

 

Another Picture At An Exhibition

“One Way”, acrylic on cardboard, 100×70, 2019.

This one, along with others, has been recently on display at a private exhibition at Mai.Social.Maison.

Check it on Rise Art.

 

Some Pictures At An Exhibition

Three paintings of mine on a private gallery wall. And three more on another.

A Triptych | Un Trittico (2019)

I made these 3 paintings during February 2019. The visual subject is quite the same – three different narrow urban courtyards as seen from below – while the light and atmosphere change. I had three canvases of the same dimensions – cm. 100×50 each – so, even if it was not planned, eventually something like a triptych came up. Hence, if you consider them as an unique artwork, it is one meter high and about one meter and a half wide. The titles of these, from left to right, are:  Do Not Exceed The Daily Dose – Keep Off The Grass – Press To Open.

Ho dipinto questi tre quadri nel febbraio 2019. Il soggetto visivo è simile – tre diversi stretti cortili urbani visti dal basso – mentre la luce e l’atmosfera cambiano. Avevo tre tele delle stesse dimensioni – un metro per mezzo metro – perciò, anche se non era stato premeditato, alla fine è venuto fuori una specie di trittico. Quindi, se lo si considera come un’opera unica, le sue misure sono un metro per un po’ più di un metro e mezzo. I titoli, da sinistra a destra, sono: Non superare le dosi consigliate – Non calpestare il prato – Premere per aprire.

Unleashed Sketch 316 | Schizzo scatenato 316

Unleashed Sketch 316 | Schizzo scatenato 316, semi-soft pastel, pencil and ball pen on colored paper, 2015

 

Autumn Lemonade | Limonata d’autunno (2003)

Marco Bigliazzi – Autumn Lemonade | Limonata d’autunno, acrylic on canvas | acrilico su tela, 60×120, 2003

This one is quite old. Hope that the lemonade is still fresh.

Questo è vecchiotto. Mi auguro che la limonata sia sempre fresca.