00/Terra Ledger Editions
What a deed is to a house, provenance is to an artwork: an unbroken chain of custody that everything the asset is worth rests on. We already run that machinery for forty-one buildings. Editions points it at art.
01/Why art, and why us
We are a provenance company that happens to have started with land. The question an art market asks — who owned this, when, and can you prove it — is the question a title company asks, with better lighting.
An artwork's value is not only in the object. It is in the record: the studio it left, the hands it passed through, the exhibitions it hung in. Break that record and you have not damaged the painting — you have destroyed most of what it is worth. That record currently lives in gallery folders, auction archives and the memory of people who will retire.
It is the same failure mode we built this company to fix for land, and the fix transfers exactly. The FA2 contracts behind Editions are the contracts behind our property book, with the compliance module swapped for a royalty one. Our engineers did not learn a second stack, and our collectors do not learn a second wallet.
We took the art programme on because it made our existing machinery more valuable, not because NFTs were interesting. Anyone can mint a picture. Very few people can produce a custody chain that a conservator, a tax authority and a contract all agree on.
02/Current & recent
Eighteen collections released to date; the six below are open, recently closed, or in production. Every one is authored by a named artist we have met in their studio.
Ilse Verhoeven
Generative plot, deterministic seed
Contour fields generated from the public survey data of the six counties we hold property in. Each edition is seeded by a real parcel number, so the collection is a portrait of our own book — the clearest statement of why one company holds both of these programmes.
Contract · KT1Cad…3vWn
Mateo Salinas
Oil and graphite on linen, 140 × 110 cm
Twelve unique canvases held in bonded, climate-controlled storage in Austin. The token is the title to the physical work; burn it and the painting is released to you, freight and customs at our cost.
Contract · KT1Gnd…6pKt
Noor Haddad
Real-time WebGL, minted with its own renderer
Interlocking translucent solids resolved live in the browser. The renderer is stored on-chain alongside the seed, so the work does not depend on a server we might one day stop paying for.
Contract · KT1Ref…1qHs
June Okafor
Pen-plotter drawing, archived as vector
The collection that opened the programme, and still its most traded. Every edition ships as a vector archive a collector can plot themselves on paper, which turns out to be most of the reason people buy it.
Contract · KT1Sig…5dRb
Beatriz Lund
Acrylic on board, 90 × 90 cm
Painted responses to twenty-four deeds drawn from the county records of our earliest acquisitions. Condition-reported on intake and re-reported annually; the report hash is written to the token metadata each year.
Contract · KT1Chr…8zFa
Kenji Alvarez
Motion work, 12-second loop
A moving-image series, and the first collection we will mint with the renderer and the frames both held on-chain. In production with the artist; the contract deploys when the audit closes.
Contract · Pending deployment
03/Provenance
Six steps, deliberately mirroring the six that put a building on-chain. The first two are conventional art-world work and take weeks. The last four are software and take minutes.
We meet the artist, see the studio, and take the work directly from them. No consignment chains, no intermediary attributions. If we cannot establish authorship first-hand, we do not mint it.
Digital-native work is captured with its renderer and seed so it can be reproduced exactly. Physical work goes into bonded, insured, climate-controlled storage and is condition-reported before anything touches the chain.
The edition is minted as an FA2 token carrying full TZIP-21 metadata — artist, medium, dimensions, edition number, condition-report hash and the storage location. The record is the token, not a database row that points at one.
Ten percent of every secondary sale returns to the artist, encoded in the contract rather than requested in a terms page. A marketplace that ignores it cannot settle against our contract at all.
Editions trade on the open Tezos market from the moment they are minted. We take no cut of the secondary beyond the artist's royalty, and we do not bid on our own collections.
For custodied physical work the token is the title. Burn it and we release the piece to you, freight and customs at our cost — the same move as taking delivery on a commodity contract.
04/For artists
These are the same for everyone in the programme and they do not improve with your follower count. We publish them so that we cannot quietly stop honouring them.
Submissions
About one submission in forty becomes a collection. Send work rather than a proposal — images, a link, a plot, a repository. Hélène reads every one, and you will get an answer either way even when it takes a few weeks.
05/Design hiring
Eighteen collections have shipped and sold, and they have been more consistent by luck than by system. For two quarters the visual decisions have been made by a curator and a CTO — neither of whom should be making them.
We are hiring a senior NFT designer to art-direct the collections and the games estate, and a generative artist to build the systems behind the collections that are computed rather than drawn. Both seats come with a paid commission before any offer, and we pay for it either way.
Next
Same contracts, same chain, considerably heavier assets. Forty-one buildings issued as FA2 tokens on Tezos.
