Riva del Garda - Carlo Isolabella #art #digitalpainting #sketchbook

I hate Bitcoiners because they take everything far too seriously. But I love them for the very same reason.

The great thing about watching stupid videos on Nostr is that there's no algorithm suggesting new ones to you afterwards, so you feel less guilty about watching them.

Yes, that’s how Bitcoin works. This is so accurate. 👇 https://xcancel.com/Eggplant_Elon/status/2086134714734129329#m

Nostr and Bitcoin taught me a simple, hard lesson: self-sovereignty is not an ideal, it’s a necessity. For an artist, it means this: if you don’t control your spaces, your audience, your work, you’re just renting your future. Services that spoon-feed you look convenient, but they make you dependent. And dependency always comes with a bill. Rules change, platforms disappear, you get silenced — and you’re left standing still, even if you did everything right. Being self-sovereign is harder, less comforting. But it’s the only way to build something that doesn’t collapse when someone else decides to turn off the lights. https://isolabellart.it.com

Rather than artificial intelligence, I’d call it simulated intelligence.

Hi art lovers, 🎨 If you could own any artwork in the world, which piece would you choose and why?

What does failure mean to an artist? It’s when I finish a painting and show it to you, and that painting doesn’t move you even half as much as it moved me whilst I was creating it – that’s a real failure for me.

I accept BTC. But I’m just one Italian artist, not the Italian government 😂

Hello, my friends 🫂🎨 I'm writing from where I'm taking a break, and while relaxing, I've had a moment to reflect... Is it better to be rich and sad or poor and happy? But perhaps it's not a question of choosing between two extremes. No one would really want to be poor, and sadness can't be cured with money. The real question is another: what is enough for me? I've sold quite a few paintings on Nostr; I've seen months when orders came in and months when there was silence. I've never been either rich or poor in an absolute sense. But I know that when I paint something that feels true — the right light, the right silence on the canvas — that feeling is priceless. And no one can buy it. So perhaps the answer is: I don't want to be either rich and sad or poor and happy. I'd like to have just enough to paint without anxiety, and I'd like what I do to make sense to me before it makes sense to the market. The rest is just noise.

'sticazzi