The work is a non-fungible token that its owner can program on the digital platform AsyncArt. The painting changes shape on Buterin’s birthday and Ethereum’s anniversary.

In recent days, a painting of Ethereum’s creator Vitalik Buterin sold for more than USD 133,000. A Twitter user, identified as @MaxStealth5, is now the owner of this digital artwork. It mutates according to changes in the price of Ether, fluctuations in gas rates, and on the birthday of Buterin himself.

“ETH Boy” is a non-expendable token, that is, a collectible, unique and unrepeatable piece by the digital platform AsyncArt. Besides, it is a programmable piece since AsyncArt has incorporated an innovation capable of reflecting data and external stimuli in it. A previous work of art already uses this technology to remake itself according to variations in the price of BTC.

The painting of Vitalik Buterin will be able to change shape according to festive dates and daily information from the network that the work receives. The data that will modify the painting is the fluctuations in the price of Ether, the movements in Vitalik Buterin’s addresses, Ethereum’s anniversary, and even the birthday of the creator of this network.

This original painting shows a Vitalik Buterin wearing a medieval harlequin suit and sitting on a royal chair. This image is undoubtedly making an ironic reference to Ethereum’s best-known developer.

Trevor Jones and Alotta Money are the artists that created this piece, which sold for about 260 ETH on the AsyncArt marketplace. The value of the painting in US dollars was above 133 thousand, taking into account the price of ETH. As if that was not enough, the new owner of the work decided to donate another 3 ETH for the painting to break the record for the most expensive work ever sold on AsyncArt.

The artists will not produce another “ETH Boy” work so that its scarcity will increase its value. However, the painting also has a business concept since they expect to trade the images that the work generates each time it changes shape. They will auction them on the OpenSea platform twice a year, an activity that they will continue to do for five years.

Both the owner of the painting and its creators will split the profits from the sale of these additional images. They also expect to save some money for any maintenance that the paint code may eventually need.

Over the years, works of art about cryptocurrencies or blockchain networks have increasingly gained traction. By 2017, there were several galleries dedicated to the sale of these creations. Meanwhile, different artistic disciplines, such as murals, music, and even intervened banknotes, have begun to consider non-fungible tokens and blockchain networks to develop their pieces or trade them. This trend could give an idea of what art will be like shortly.

By Willmen Blanco

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