I am Ayesha and I operate a small studio here in Lahore dealing in digital art. Anyone who has been watching NFT artists fight with years of obvious attempts to promote their creations will notice attempts on Ethereum that are then still costly on IPFS pinning services, and the consistent inability not to worry about the safety of their files. One artist nearly gave up a gorgeous generative series, storage costs will be higher than sales.
This was followed by the mentioning of Walrusprotocol by someone in our local crypto meetup. Another storage layer I asked myself, skeptically. But curiosity won. We got started with a small sample of 500 high res works. The upload was relatively unbelievably smooth, and the reference on the blockchain cost pennies in $WAL . What is more significant is that the files remained online and we were not continuing to pin nodes.
Several months after, the same collection also sold out on an international drop. New York buyers through Tokyo could view preview images immediately without any links being broken or without any excuses. We even included some of our behind-the-scenes videos in the fresh data marketplace of Walrus and reaped more $WAL which we used to invest in new talent. What began as a storage tool was a flywheel innovative.
When you make art you want to be permanent art, it is time to quit betting the ranch on single strands of spider-webs.@walrusprotocol is creating the canvas the next generation will have a reason to see.
