CLAPIS DIAMOND CLUB

I want to share my strategic vision in greater detail for the first time. Since the very beginning, the thing I loved the most about this environment is how free it is from the characteristic hypocrisies of the traditional art market, where everyone has always pretended not to be interested in the financial aspect.

Since my very first SuperRare Drop, I’ve always maintained a deliberately transparent mindset, at times running the risk of creating a dissonance with the deeper meaning of my works which, in my mind, should tell their stories through the images themselves, and not thanks to some structured contribution on my part.
For me, building market strategies is a new creative stimulus as well as a more relevant discussion topic.

SUPERRARE 1/1s CHAPTER

I originally started this adventure only with my 1/1s and between one drop and the next my primary rule was:

- To sell only to selected collections, well-respected collectors within the market, with long-term visions who were deeply in tune with my work.
For this reason, I decided to work exclusively through a pre-sale mechanism so that before minting my work, I can select the collector and then agree on everything else. This approach rewarded me considerably and I grew a lot during my first year.

- Reject the literally hundreds of proposals for emerging marketplaces, including large crypto players, avoiding all and any unnecessary dispersion of the market to the detriment of my collectors.
- I only exhibit works that I’ve already sold, which is how I create additional value for the collector’s work, and I avoid minting proposals on external gallery or museum platforms.

NIFTYGATEWAY CHAPTER

My first drop gave me a sense of direction, as I wanted to be super open and affordable in order to have a better understanding of these new dynamics that I hadn’t previously paid too much attention to.

From the second drop onwards, I gained the necessary confidence to introduce creative mechanics: continuous rewards such as The Monochrome Reward (airdrops for those who own the complete set of collections) and other rewards, including personalized time slots for each specific single drop.

After this third most recent drop, I gained enough experience for a more in-depth analysis of the editions market and a greater sense of awareness of how I want to approach it and best adapt it to my personality.

In this third stage, I have introduced a new mechanic which, for the first time on NG, rewards the specific behaviour of my collectors.
A reward that required additional collaboration by NG that, amongst other things, had to analyse the data manually as they were not ready for this novelty of mine.
For me, the Diamond Hands reward marks the beginning of something very deep and radical.
On that specific occasion, rewards were given to those who had never listed any of my works, demonstrating a long-term vision similar to my own.
It was gratifying to see that these accounted for the large majority. There were also other awards that made me observe other types of behaviours and led me to certain decisive reflections.

I want to orient my reward/privileges policy more and more towards Diamond Hands collectors.

- I have given considerable thought to the fairly limited approach we artists have so far reserved for reward mechanics.
It’s inevitable that creating entries for owners of a few specific works will penalize the other “excluded” works. One of my priorities is to protect my works from this utilitarian malcontent through a completely new method: the introduction of a scoring system.

So I built the Diamond Hands Ranking where each work and its holding time has a specific score.
In this way I will solve two major problems:

- Protect every single past and future work
- Introduce meritocracy to Diamond Hands themselves, that will have super privileged entries in relation to their relative score

I wanted to share this vision in greater detail in the hope that those who will be excluded from my next direction can understand my motivations. Everything I do is for long-term growth, where everyone benefits (including non-Diamond Hands holders).
Reducing future entries to those who have so far had a short-term flip approach will inevitably reduce supply, bringing benefits to the few works that will be listed. Finding a work of mine listed on the secondary market should become something of a rarity.
With this in mind, I am also planning future drop editions in numbers low enough to support this new approach.

I am fully aware that part of the market is animated by short-term approaches, which I do not wish to judge as I obviously see the usefulness of liquidity this generates.
But if we want to give a deeper definition of the term “collector”, in my opinion it is someone who contributes to your growth, who has and can afford a long-term vision and believes in the project and in your art, and not those who want to earn immediately after purchasing a piece.

I have the greatest respect for everyone, but my new policy will be radically devoted to my most loyal collectors.