Size: 42 x 59,4cm (Din A2)
Material: Acrylic paint on gessoed watercolor paper
Description:
Opt Out visualizes the collapse of fiat money and the rise of Bitcoin. At the center, Satoshi, portrayed through Dorian Nakamoto, sweeps away worthless U.S. dollars as the old financial system crumbles. Bold references and hidden messages from Bitcoin culture are woven throughout the scene, rewarding those who take a closer look. This artwork captures the quiet monetary revolution, sparked by the simple decision to opt out.
Prints limited to 7.
"Collapse starts slowly. Value erodes as promises multiply. What once sustained society now litters the streets, stripped of meaning. In the search for an alternative to a broken system, something new emerges. Open, voluntary, incorruptible."
This artwork was created and selected as part of the Art of Freedom Project for Las Vegas 2025.
The project features 21 artists, each presenting their own interpretation of the theme inflation. All works share the same format (DIN A2) and are limited to an edition of seven prints per piece.
My idea was to portray Satoshi, represented through Dorian Nakamoto, as a quiet worker who sparked a monetary revolution and now, in the wake of hyperinflation, helps clean up the remnants of the old financial system. The wall behind him was designed to be covered with references and writings from the Bitcoin revolution.
Since the piece was created for the Las Vegas conference, I wanted it to be bold and slightly meme-inspired. I added a number of subtle details to reward a second look: the manhole as a reference to the rabbit hole, the Art of Freedom logo, “everything divided by 21M,” “open source everything,” and “SHA256” on the jacket. There is also Zetra’s brilliant inflation poster, The Times newspaper from the Genesis Block with an adjusted headline and updated prices, and mugshots of notable Bitcoin figures. Satoshi also wears Hal Finney’s shoes.
Originally, I planned to give him a blue CIA jacket, but decided against it for visual balance.
The prints are signed and labeled on the back, and each piece also includes a UV-ink numbering on the front.
During the painting process, I used myself as the model, prepared the composition digitally to experiment with different color schemes, and then built up the final piece on paper layer by layer.