MAXITOSHI
Maxitoshi presents a contemporary reinterpretation of Indonesian artisanal heritage, articulated through the form of a handcrafted wooden puppet (wayang golek). Originating from West Java, Indonesia, this traditional medium is recontextualized within the evolving landscape of digital culture. Drawing conceptual influence from the enigmatic figure of Satoshi Nakamoto, the work translates an intangible digital mythology into a tangible cultural artifact. Hand-carved from albasia wood and constructed with layered materials, the figure is subtly illuminated by an integrated orange LED element—suggesting both ritual presence and the persistent signal of a decentralized network. Situated at the intersection of tradition and innovation, the piece navigates a series of dualities: material and immaterial, folklore and protocol, object and ideology. In doing so, it reflects a broader dialogue between inherited cultural practices and emergent, internet-native systems of meaning. Each component is executed with deliberate precision, foregrounding the temporal qualities of craftsmanship—time, labor, and embodied knowledge—while simultaneously engaging with contemporary questions of authorship, identity, and value in the age of decentralization. A singular work reflecting the convergence of Indonesian craft and decentralized culture.
Maxitoshi presents a contemporary reinterpretation of Indonesian artisanal heritage, articulated through the form of a handcrafted wooden puppet (wayang golek). Originating from West Java, Indonesia, this traditional medium is recontextualized within the evolving landscape of digital culture. Drawing conceptual influence from the enigmatic figure of Satoshi Nakamoto, the work translates an intangible digital mythology into a tangible cultural artifact. Hand-carved from albasia wood and constructed with layered materials, the figure is subtly illuminated by an integrated orange LED element—suggesting both ritual presence and the persistent signal of a decentralized network. Situated at the intersection of tradition and innovation, the piece navigates a series of dualities: material and immaterial, folklore and protocol, object and ideology. In doing so, it reflects a broader dialogue between inherited cultural practices and emergent, internet-native systems of meaning. Each component is executed with deliberate precision, foregrounding the temporal qualities of craftsmanship—time, labor, and embodied knowledge—while simultaneously engaging with contemporary questions of authorship, identity, and value in the age of decentralization. A singular work reflecting the convergence of Indonesian craft and decentralized culture.
Maxitoshi arrives from a specific tradition: Indonesian artisanal craft passed down through workshops and families rather than art schools. Ndhoz dotule worked inside that tradition and redirected it. The result carries the visual weight of devotional object-making and the cultural weight of Bitcoin mythology at the same time. That combination is not an accident. It is the decision the work is built around. Each material earns its place. The Albasia wood and clay root the figure in the handmade. The synthetic hair and metal extend it into the contemporary. The orange LED is the protocol made visible inside the object, glowing from within a form that predates it by centuries. Bitcoin art is too often made by and for one part of the world. Maxitoshi comes from Java. It stands 70 centimeters tall. It belongs in the same room as everything else in this collection.
Material: Albasia wood (sengon), clay, acrylic paint, orange LED light, synthetic hair, metal, synthetic leather, clear polycarbonate. Technique: hand-carved & painted. Articulation: movable arms with rods. Dimensions : 30 x 30 x 70 cm
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MAXITOSHI
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MAXITOSHI
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