Satoshi’s Mom is a digital artist and the Founding Director of The Digital Asset Museum (THE DAM), a 501(c)(3) dedicated to preserving digital asset history while actively educating and welcoming the public into Web3 through accessible pathways to collecting and onchain participation.

Their artistic practice uses early-2000s nostalgia as both material and method. Hand-drawn scenes and objects are rendered with the clarity of remembered detail, then recontextualized through the pressures of the present: headlines, internet vernacular, and the emotional cadence of current events. The works operate as contemporary commentary disguised as recollection. They evoke a shared, largely undocumented childhood and translate it into artifacts that can be held, collected, and preserved. In doing so, Satoshi’s Mom constructs a visual archive of common memory, while allowing the present moment to speak through it.

Satoshi’s Mom is a digital artist and the Founding Director of The Digital Asset Museum (THE DAM), a 501(c)(3) dedicated to preserving digital asset history while actively educating and welcoming the public into Web3 through accessible pathways to collecting and onchain participation.

Their artistic practice uses early-2000s nostalgia as both material and method. Hand-drawn scenes and objects are rendered with the clarity of remembered detail, then recontextualized through the pressures of the present: headlines, internet vernacular, and the emotional cadence of current events. The works operate as contemporary commentary disguised as recollection. They evoke a shared, largely undocumented childhood and translate it into artifacts that can be held, collected, and preserved. In doing so, Satoshi’s Mom constructs a visual archive of common memory, while allowing the present moment to speak through it.

Satoshi’s Mom is a digital artist and the Founding Director of The Digital Asset Museum (THE DAM), a 501(c)(3) dedicated to preserving digital asset history while actively educating and welcoming the public into Web3 through accessible pathways to collecting and onchain participation.

Their artistic practice uses early-2000s nostalgia as both material and method. Hand-drawn scenes and objects are rendered with the clarity of remembered detail, then recontextualized through the pressures of the present: headlines, internet vernacular, and the emotional cadence of current events. The works operate as contemporary commentary disguised as recollection. They evoke a shared, largely undocumented childhood and translate it into artifacts that can be held, collected, and preserved. In doing so, Satoshi’s Mom constructs a visual archive of common memory, while allowing the present moment to speak through it.