"Power comes in response to a need, not a desire. " - Goku
Gm, frens!
Remember, true growth happens when we step up to the challenges life throws our way. Don't just dream, create a need to succeed, and watch yourself unlock new levels. Let's power up today and crush it
After an insane UGC & Art Competition pulling in 1.8K+ entries, @thebeaksart just wrapped one of the most competitive community runs we’ve seen in a while.
Huge respect to every artist who showed up and went all in, the creativity was on another level.
From traditional pieces to digital works, sculptures, and wild interpretations of the Beaks universe… the quality stayed consistently high throughout.
Big congrats to all the winners who secured those 30 Genesis WL spots. Well deserved.
Now the dust is settling and the real energy is kicking in.
Mint is right around the corner May 26th • 0.03 ETH on ETH.
Surreal visual direction, strong founder vision from @DKashtalyan , and a collection clearly built to move from streets and walls into on-chain culture.
Been watching this one closely, the art hits, the community is active, and the timing feels right.
Super bullish on what’s coming.
LFG 🦩
Happy to announce our collaboration with Eldryn 🤝
1000 Warriors
• Supply: 1,000
• Mint Price: Free
• Chain: Ethereum
• Mint Date: 28th May
Raffle is currently live in their Discord server
Inherited Silence
Some projects don’t feel like launches.
They feel like something that was already happening before you found it.
That’s how The Beaks sits with you.
The Beaks NFT art project didn’t come from a typical Web3 origin story. It feels like it came from a long creative practice that only later found its digital form.
At the center of it is Dima Kashtalyan, a surrealist illustrator and muralist whose work existed long before NFTs were part of the conversation.
His background matters here.
This isn’t someone who started with profile pictures and collections.
He built through physical space first. Graffiti roots, large-scale murals, studio work, and exhibitions across cities like Warsaw, Barcelona, and Taipei. Work that takes time, planning, and a real relationship with surface, scale, and distance.
You can see that discipline in The Beaks immediately.
The technique is built on stippling and dot-based construction. Thousands of deliberate marks forming a single image. Up close it breaks into fragments. From a distance it resolves into something precise and intentional.
Nothing is rushed. Nothing is accidental.
That approach carries into the characters themselves.
The Beaks are not loud designs or simple mascots. They feel more like structured identities. Anthropomorphic bird-like figures dressed in formal, almost historical clothing. Suits, hats, flowers, subtle expressions that don’t fully reveal what they’re thinking.
They sit in that space between elegance and ambiguity.
Familiar enough to recognize.
Unclear enough to stay in your head.
And that is the core of the project. Not just creating collectible images, but building a visual language that can hold different meanings depending on who is looking at it.
One person might see fashion.
Another might see symbolism.
Another might see identity itself being constructed.
Nothing collapses into a single interpretation.
That flexibility is what makes it stay relevant in a culture where most digital images are designed to be consumed and replaced within seconds.
The Beaks don’t behave like that.
They resist that speed.
And that is why they linger.
I found myself thinking about that while working on my own interpretation, especially when placing them into motion.
Because once you take something built on stillness and discipline and put it into movement, something changes.
Not the identity itself.
But how it feels.
Motorcycles moving through empty coastal roads.
Casino floors under heavy light and silence.
Villas that don’t feel staged.
Chess played like negotiation instead of a game.
Same Beaks. Different environment.
But the same control is still there.
It just moves differently.
@thebeaksart@DKashtalyan