VICKESH🌻

God first || Web3 Enthusiast || Reply guy ||
Intern @layerzero_core ..

[VICKESH🌻 @mikeyyweb3]

What Is OneSig and Why It Matters @LayerZero_Core

🧵OneSig: The Future of Smart Contract Execution
Security. Scale. Simplicity.

OneSig just dropped — and it’s changing the way we think about multisig approvals across chains. Here's why it matters (and why it's a big deal):
👇

[VICKESH🌻 @mikeyyweb3]

@affprinter PRINT

[Adeniyi @adenibalogunn]

HELP MY MOTHER WALK AGAIN BY SHARING AND DONATING !!

My mom is about to lose both of her legs to amputation. She has till month end to get the surgery on both legs.

Please help save my mom and give her back the chance to walk. We need a miracle right now. Please Help

[VICKESH🌻 @mikeyyweb3]

@pounddz react

[VICKESH🌻 @mikeyyweb3]

@BigVybzB Done

[VICKESH🌻 @mikeyyweb3]

@ky_markets GLITCH

[VICKESH🌻 @mikeyyweb3]

@XdiamondOgodin1 This is a nice theory
Excited for what's to come

[Xdiamond ⚖️ ⚖️ | ꐠ (❖,❖) @XdiamondOgodin1]

𝗧𝗛𝗘 𝗦𝗧𝗢𝗥𝗬 𝗢𝗙 𝗗𝗜𝗠𝗔 𝗞𝗔𝗦𝗛𝗧𝗔𝗟𝗬𝗔𝗡 & 𝗧𝗛𝗘 𝗕𝗘𝗔𝗞𝗦

there’s something beautiful about artists who keep creating long before the world pays attention.

not because they’re building a brand.
not because there’s money waiting.
not because they know it’ll work out.

they do it because something inside them refuses to stay quiet.

that feels true about dima kashtalyan.

before the galleries and magazine covers and collectors, there was just a kid in minsk trying to save enough money to buy spray paint.

that’s really where this story begins.

•𝗕𝗘𝗙𝗢𝗥𝗘 𝗧𝗛𝗘 𝗗𝗢𝗧𝗦

dima found graffiti through hip-hop culture when he was young.

he saw lettering somewhere in a magazine and became obsessed with it almost instantly.

the problem was simple:
paint cost money.
and he didn’t have much of it.

so he saved little by little.

that detail says a lot about him, honestly.

some people wait for the perfect setup before they start creating.
dima never did.

he just found a way to keep going.

he started with letters like most graffiti artists do, but eventually he realized what interested him most wasn’t typography.

it was characters.

creatures.
expressions.
personalities.
emotion.

even then, he wasn’t trying to make things look cool.

he was trying to make things feel alive.

•𝗧𝗛𝗘 𝗠𝗢𝗠𝗘𝗡𝗧 𝗘𝗩𝗘𝗥𝗬𝗧𝗛𝗜𝗡𝗚 𝗖𝗛𝗔𝗡𝗚𝗘𝗗

years later, after working in design and painting murals, he discovered artists making incredibly detailed work using tiny hand-placed dots.

most people would admire it and move on.

dima tried it once.

and never really stopped.

what began as an experiment slowly turned into the language he would spend the next decade speaking.

dot by dot.
line by line.
thousands of tiny marks building entire emotional worlds.

there’s something almost meditative about his work now.

when you look closely, you can actually feel the patience inside it.

nothing feels rushed.
nothing feels accidental.

in a world obsessed with speed, his art moves slowly on purpose.

and maybe that’s why it stays with people.

because you can sense the human effort immediately.

•𝗧𝗛𝗘 𝗪𝗢𝗥𝗟𝗗 𝗦𝗧𝗔𝗥𝗧𝗘𝗗 𝗟𝗢𝗢𝗞𝗜𝗡𝗚

over time, the work traveled far beyond minsk.

murals across europe.
gallery exhibitions in london, taipei, hong kong, rotterdam, warsaw.

then came the publications.

the new york times.
harper’s magazine.
MIT technology review.

big brands started commissioning him too, but somehow the work still felt personal.

that’s rare.

a lot of artists become more polished as they grow.
dima became more honest.

the dots became sharper.
the symbolism became deeper.
the creatures started feeling less like illustrations and more like fragments of emotion.

his art began carrying this strange feeling that every image meant something personal, even if you couldn’t fully explain why.

•𝗧𝗛𝗘 𝗜𝗡𝗡𝗘𝗥 𝗧𝗛𝗘𝗔𝗧𝗥𝗘

dima once described his practice as an “inner theatre.”

i love that phrase because it explains his work perfectly.

his creatures don’t feel random.
they feel psychological.

flowers, boots, hats, animals, every object carries emotion or symbolism.

nothing exists just to decorate the page.

his work feels like someone trying to understand themselves in public without fully explaining everything out loud.

and honestly, i think that’s why people connect to it.

because most of us are trying to make sense of ourselves too.

•𝗪𝗛𝗬 𝗛𝗘 𝗗𝗜𝗗𝗡’𝗧 𝗥𝗨𝗦𝗛 𝗜𝗡𝗧𝗢 𝗪𝗘𝗕𝟯

when nfts exploded in 2021, artists rushed into the space overnight.

dima didn’t.

he watched quietly from the outside for years.

not because he was against it.
he just didn’t want to force the timing.

that patience matters.

especially now.

because when he finally arrived in web3 in 2026, he didn’t come in trying to invent an identity around crypto.

he already had one.

twenty years of murals.
exhibitions.
editorial work.
physical paintings.
real artistic history.

the beaks wasn’t the beginning of his story.

it was the continuation of it.

•𝗧𝗛𝗘 𝗕𝗘𝗔𝗞𝗦

then came the beaks.

1,111 hand-rendered pieces released on ethereum.

and honestly, the collection feels less like a launch and more like a world that had been waiting patiently to exist.

the characters feel unmistakably his:
strange bird-like beings dressed with elegance, mystery, humor, and emotion.

they don’t look generated.

they look remembered.

like they existed somewhere in his imagination long before they became collectibles.

and the beak itself feels symbolic in the perfect way.

a beak is how birds express themselves.
how they survive.
how they protect.
how they communicate with the world.

that feels deeply connected to the way dima approaches art.

because underneath all the detail and surrealism, his work has always been about expression.

about turning inner feelings into something visible.

•𝗪𝗛𝗬 𝗧𝗛𝗜𝗦 𝗔𝗟𝗟 𝗠𝗔𝗧𝗧𝗘𝗥𝗦

there are easier ways to make images now.

faster ways too.

but dima’s work reminds people that slowness still has value.

that patience can still be felt.
that real craft still carries weight.

the beaks stands out because it doesn’t feel manufactured for attention.

it feels earned.

like the result of someone quietly building the same universe for twenty years until the rest of the world finally caught up to it.

one dot at a time.

@thebeaksart
@DKashtalyan

[VICKESH🌻 @mikeyyweb3]

@EthanChain I'm so in my bro
Gave you a follow

[EthanChain 🗽 @EthanChain]

Looking to earn some sol?

And if $50 weekly payment is not to small for you

Like and retweet

I will DM you with the link to join me now.

[VICKESH🌻 @mikeyyweb3]

@BrunoF566 I want in

[VICKESH🌻 @mikeyyweb3]

@Mystayor God bless you fam
I mean God has blessed you ❤️❤️
Haven't seen a giveaway this huge from a single individual

More wins champ, respect 🫡

[VICKESH🌻 @mikeyyweb3]

@ky_markets GUIDE

[XAMMIE💎 @XammieCrypt]

Let me tell you a story, twenty years in the making. (tales by moonlight style).

𝘏𝘰𝘸 𝘢 𝘨𝘳𝘢𝘧𝘧𝘪𝘵𝘪 𝘸𝘢𝘭𝘭 𝘪𝘯 𝘞𝘢𝘳𝘴𝘢𝘸 𝘣𝘦𝘤𝘢𝘮𝘦 1,111 𝘕𝘍𝘛𝘴 𝘢𝘯𝘥 𝘸𝘩𝘺 𝘵𝘩𝘪𝘴 𝘤𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯 𝘥𝘦𝘴𝘦𝘳𝘷𝘦𝘴 𝘢𝘭𝘭 𝘵𝘩𝘦 𝘩𝘺𝘱𝘦 𝘪𝘵 𝘪𝘴 𝘨𝘦𝘵𝘵𝘪𝘯𝘨 𝘤𝘶𝘳𝘳𝘦𝘯𝘵𝘭𝘺.

The Dot That Started Before the hype

𝐥𝐢𝐬𝐭𝐞𝐧 𝐚𝐭𝐭𝐞𝐧𝐭𝐢𝐯𝐞𝐥𝐲 𝐦𝐲 𝐜𝐡𝐢𝐥𝐝𝐫𝐞𝐧

It did not start with a whitepaper. It did not start with a discord server, a mint date, or a twitter thread about community.

It started the way all real things start quietly, stubbornly, alone.

Somewhere in Warsaw, a young artist named @DKashtalyan pressed a pen to paper and began placing dots.

One by one. Not knowing that two decades later, those dots would form something the art world and the crypto world would both have to reckon with.

That was the opening chapter of @thebeaksart not a collection that was designed for the market, but a universe that existed long before the market had language for it.

𝐥𝐞𝐭 𝐦𝐞 𝐭𝐞𝐥𝐥 𝐲𝐨𝐮 𝐦𝐨𝐫𝐞 𝐚𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐚𝐫𝐭𝐢𝐬𝐭 𝐦𝐲 𝐜𝐡𝐢𝐥𝐝𝐫𝐞𝐧.

@DKashtalyan is not what NFT culture usually produces. He is what it deserves. Over twenty years, he built a multidisciplinary practice rooted in dotwork, stippling, and pointillism techniques that demand patience most artists never develop.

His journey began with classic graffiti on city walls, evolved through fine art exhibitions, and eventually landed in some of the world's most prestigious editorial rooms.

His work has appeared in The New York Times, Harper's Magazine, MIT Technology Review, Lavazza, Vista Jet, and Entertainment Weekly.

He has won Merit awards from 3×3 and HIII Illustration. His solo exhibitions have filled galleries in Warsaw, Taipei, and London.

His murals have scaled his obsessive linework to the size of buildings in Romania, Australia, and beyond.
None of this was built for Web3. All of it now arrives with it.

𝐥𝐞𝐭 𝐮𝐬 𝐭𝐚𝐥𝐤 𝐦𝐨𝐫𝐞 𝐚𝐛𝐨𝐮𝐭 𝐭𝐡𝐞 𝐜𝐨𝐥𝐥𝐞𝐜𝐭𝐢𝐨𝐧 𝐧𝐨𝐰 𝐦𝐲 𝐜𝐡𝐢𝐥𝐝𝐫𝐞𝐧

The Beaks is described on its own site with three words: "My own universe."

That restraint is intentional. When you have been building a world for twenty years, you do not need to oversell it.

1,111 genesis pieces.

Four characters, two already revealed, two still holding their secrets.

Each NFT carries the same visual DNA that earned Kashtalyan pages in global publications and walls in international cities.

The stipple technique that makes his editorial work instantly recognizable is the same system powering every piece in this collection.

This is not an artist who changed their style to fit a trend. This is an artist who brought twenty years of an unmistakable style to a medium finally capable of distributing it at scale.

𝐬𝐨 𝐦𝐲 𝐜𝐡𝐢𝐥𝐝𝐫𝐞𝐧, 𝐢𝐧 𝐬𝐮𝐦𝐦𝐚𝐫𝐲, 𝐡𝐞𝐫𝐞 𝐢𝐬 𝐰𝐡𝐲 𝐲𝐨𝐮 𝐬𝐡𝐨𝐮𝐥𝐝 𝐧𝐨𝐭 𝐨𝐯𝐞𝐫𝐥𝐨𝐨𝐤 𝐭𝐡𝐢𝐬 𝐰𝐨𝐫𝐤 𝐨𝐟 𝐚𝐫𝐭

The NFT space has a credentialism problem but it runs backwards.

It rewards novelty over craft, virality over vision, and being first over being real. Most collections ask you to believe in a roadmap. They are selling a future that may or may not arrive.

Kashtalyan reverses this entirely. He arrives not as someone who learned art for blockchain but as someone who built a full international career before blockchain gave him a reason to show up.

The exhibitions already happened. The editorial commissions already ran. The murals are already on the walls.

What @thebeaksart offers is something rare in this space, an artist whose body of work speaks before the floor price does.

final word >> 𝘚𝘰𝘮𝘦 𝘤𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯𝘴 𝘢𝘴𝘬 𝘺𝘰𝘶 𝘵𝘰 𝘣𝘦𝘭𝘪𝘦𝘷𝘦 𝘪𝘯 𝘸𝘩𝘢𝘵 𝘵𝘩𝘦𝘺 𝘤𝘰𝘶𝘭𝘥 𝘣𝘦𝘤𝘰𝘮𝘦.

𝘛𝘩𝘦 𝘉𝘦𝘢𝘬𝘴 𝘢𝘴𝘬𝘴 𝘺𝘰𝘶 𝘵𝘰 𝘭𝘰𝘰𝘬 𝘢𝘵 𝘵𝘸𝘦𝘯𝘵𝘺 𝘺𝘦𝘢𝘳𝘴 𝘰𝘧 𝘱𝘳𝘰𝘰𝘧.

[kris @krisossai]

The AI agency window was 5 years.

We're 18 months in. Math says: 42 months left. Maybe.

Year 1–2 (now): operators charge $1,500–$15,000/month. Buyers have no alternatives.
Year 3: pricing compresses. Competition floods in.
Year 4–5: SaaS platforms eat the bottom — same way Wix ate web design.
Year 5+: only operators who built a track record in years 1–2 still have retainer bases. Everyone else is gone.

Most reading this will think "interesting" and forget by tomorrow.
A few will move.

The few who move will own the niches the late ones can't break into.

I packaged the framework into a free 14-page playbook. The 5 agents that pay. The niche selection process. The 7-step build.

Reply "AGENT" — I'll DM it.

[VICKESH🌻 @mikeyyweb3]

@krisossai Tell me more

[EAST @OMOMAHYORWAH]

Exciting News

@bulktrade has officially launched a massive trading competition, giving traders the chance to battle it out on the leaderboard for a share of $50,000 💰

Honestly, this is one of the first testnet experiences I’ve seen where users can actively compete and potentially earn rewards at this scale while trading on testnet. Huge move from Bulktrade, and it definitely sets them apart from the rest.

Traders will be ranked based on Cashflow ROI from realized trades starting May 14 until 1:00PM UTC on May 28.

• Leaderboard updates every 15 minutes
• Rankings only update after trades are realized
• A final snapshot of the leaderboard will be taken at 1:00PM UTC on May 28 to determine winners
• Each sub-account will have its own leaderboard position

🏆 WINNER BREAKDOWN:

🥇 1st — $15,000
🥈 2nd — $10,000
🥉 3rd — $5,000

4th — $2,500
5th — $2,000
6th — $1,500
7th — $1,200
8th — $1,000
9th — $900
10th — $800

11th–19th — $500
20th–29th — $300
30th–39th — $150
40th–50th — $100

This competition is completely fair, free, and open to everyone

What a time to witness what @kdotcrypto, @hotlneblng_, @glowburger, and other amazing team leaders are building 👨‍🍳🔥
@X_Orthodox @rizzy_sol @Anekiaaa

[kris @krisossai]

What running an AI agency from Hurghada actually looks like at 9am:

→ Coffee on the rooftop. Red Sea visible from the balcony.
→ Check overnight messages from European clients (4 hours ahead of US, so my morning is calm)
→ Late morning: gym at Gold's
→ Afternoon: discovery calls with prospects
→ Evening: framework calls with existing clients
→ Walk to the marina, dinner

I work fewer hours than I did when I was broke in Holland.
The framework does the heavy lifting. The retainers compound.

Most people think this lifestyle requires a Silicon Valley salary.
It doesn't. It requires geo-arbitrage and a working framework.

Both are learnable.

[VICKESH🌻 @mikeyyweb3]

@krisossai Let's get this knowledge fam

[VICKESH🌻 @mikeyyweb3]

@krisossai Bro show me the way
Bullish on ya

[kris @krisossai]

The math nobody on this app runs:

→ Average crypto trader 2024–2026: down 30–60% from peak portfolio
→ Average AI agency operator who started in 2024: $5K–$30K/month MRR

I'm not picking on traders. I am one. 7 years in.

But the trades are slow. The conviction plays are dead. The on-chain alpha is mid.

Meanwhile a non-technical guy I know in Manchester started selling AI agents to dentists 9 months ago. He's at $14K/mo MRR. Doesn't even own crypto.

The skill is the same one we learned in crypto: spot the asymmetric setup before everyone, get in, execute.

The asymmetric setup right now isn't on-chain.

It's in the dentist's office. The real estate brokerage. The med spa.
The ones quietly paying $1,500/month to a one-man operator with mediocre tech skills.

That's the trade.