I don’t care who made it

Everyone wants a backstory. Whether it’s a genius myth or a signature that makes the piece feel pure. I’m not buying it. The world moves faster than authorship now. A thing hits, people feel it, culture absorbs it. Credit is a sidebar. Impact is the headline.

I don’t care who made it. I care what it does in public. If it travels, sparks arguments, or causes an obsession, then it’s alive. Commerce made it louder. Media made it real. Attention sealed the deal.

The gallery got replaced by the feed, and the crowd became the curator. Fame is proof of connection. Popularity is the new critique.

Similar Posts

  • Manufacturing a moment

    People think moments just happen. Spontaneous. Organic. They’re wrong. A moment is the most engineered product of our time. It’s the perfect remix of image, intent, and distribution. It is a prototype released into the wild of public consciousness.

    My work is the blueprint. I wire the hype, cast the iconography, and polish the surface until it’s ‘on-vibe’. I don’t wait for culture to move; I build the platform it dances on. This is creation. The gallery is the timeline, and the medium is attention.

    The art is the undeniable and inescapable now you can’t scroll past. Manufacture enough moments and you manufacture a reality. That’s the only kind of realism that matters, right now.

  • I watched it happen 10 times

    It’s happened enough times now that I can see the shape of it before it’s fully formed.

    A quiet idea catches on with a few people. It’s shared, then it’s sold, and suddenly it’s everywhere. It’s a quiet kind of creation.

    The slow build from a single glance to a shared habit.

  • Looking Is Doing

    You’re not a passive consumer. You’re a curator and a critic. The glance is the first draft. The double-tap is the edit. The share is the publication. In an economy of attention, your gaze is the most valuable currency, and spending it is a creative act.

    We built cathedrals to gods; now we build platforms for eyes. A viral campaign is a symphony. To be seen, with intention, is the act of creation itself.

    Stop apologizing for watching. Start understanding your power. You’re not outside the art. Your attention is the medium. Spend it like the artist you are.

  • Democratizing the gaze

    The power to look and to be seen was once curated by a priesthood in quiet rooms. No more.

    I make work for our new reality. It’s in the glance of someone on the street or in a shared meme. True power is in flooding the space. When my icon is on a thousand t-shirts, in a million feeds, the gaze is no longer borrowed; it’s owned by the crowd.

    This is distribution. By putting an image in the marketplace, I’m not asking for your contemplation. I’m demanding your participation. The art is in the collective gaze. See it. Share it. Wear it. That’s the transaction that matters.

  • I liked it before you did

    Taste ain’t what you like. It’s when you liked it. There’s a guilty pride in finding something before the world catches on. Just a simple joy in knowing you were there first.

    I enjoy seeing the shape of a thing before it’s fully formed, and admiring it for what it is before it becomes what everyone else says it is.

    That early appreciation is the art. You gotta have the original, not the mass-produced copy. The memory of it belonging just to you, even for a moment, is golden.

  • The internet makes good copies

    The Mona Lisa hangs behind glass, tucked away and untouchable. We have the copy. We have the meme and the reaction GIF. The original is a relic and the copy becomes currency.

    Virality is a form of perfection. Today, a thing isn’t real until it’s replicated a million times. The internet multiplies the impact. Every share is a brush stroke.

    Good copies are the only originals that matter now. They prove an idea is alive.