Tokenized art is not a new medium and not a digital substitute for painting. It is a shift in how artworks are authenticated, recorded, and publicly accounted for.
For decades, the art market has relied on opacity: private records, invisible transactions, and trust-based authority. Double Portraits starts from the opposite position. The physical artwork remains singular, indivisible, and materially real. What becomes tokenized is not the image itself, but the gesture around it — participation, provenance, and verification, recorded on-chain and visible to all.
In this model, tokenization does not divide the artwork and does not turn it into a financial product. It creates a transparent framework around a single object, allowing value, history, and authorship to be publicly traceable without speculation or fragmentation.
Double Portraits functions as a live case study. Each work tests how a physical painting, a visible public image, an invisible technological layer, and an on-chain record can coexist without reducing art to content or finance. The series asks a simple question: what changes when an artwork no longer depends on belief, but on verification?
By working with a dollar-denominated stablecoin, tokenized art enters an economic language collectors already understand, without volatility or abstraction. Art remains art, but its transactions, contributions, and history become transparent, global, and permanent.
This is not a finished system and not a closed platform. It is a proposal to the art market. A demonstration that tokenization can increase clarity without diminishing meaning, and that transparency can strengthen — not weaken — artistic value.
Double Portraits does not present the future of art. It tests whether art is ready to become publicly accountable.