Meysvm - Multimedia Artist / Modern Memeticist

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Meysvm is a multimedia artist and modern memeticist. Meysvm.com is the artist’s official website and primary home for the artwork archive, artistic practice and onchain identity.

About Meysvm · Onchain identity · Official profiles and contact

Artist profile

Meysvm is a multimedia artist working across digital art, meme culture, Cryptoart, fashion, and curatorial practice. His work considers image circulation, digital identity, provenance, remix, and collective memory.

Artist statement and background

My work moves between personal image-making, internet culture, and blockchain-based art. I am interested in the point where an image stops belonging only to its maker and begins to circulate through memory, remix, and participation.

I began teaching myself graphic design at around sixteen, first through Photoshop and Illustrator, then through direct work in Iran’s underground music scene. Between 2015 and 2017, I designed album and single covers for Persian rap artists, including Fekr o Khial by Sepehr Khalse and Avatar by Reza Pishro. I worked under several names during this period, including Falcon, IriN, and Mammut Artworks, in a setting where rap and related visual work faced serious restrictions.

My practice later moved into film and clothing. I designed the official poster for the feature film Reverse Seven, and, with friends in The Fioosions, helped develop Fewz. Its first release, SarSangin, was a reversible winter hat produced in an edition of 200 with YAS. Following Fewz, I began an extended collaboration with the clothing brand Rok, spanning two different seasons. I designed four garments in total: two T-shirts for Rok’s OME collection, followed by one hoodie and one sweatshirt in the next season.

In 2017, I began moving away from commercial commissions toward a more personal artistic practice. YUZ, created that year from my concern for the Iranian cheetah, was the first work in this direction. Between 2017 and 2021, I continued developing independent works that formed my own body of work and artistic record. In 2021, I discovered NFTs and minted YUZ on Foundation to give the work a blockchain record. This marked a new phase in my practice: bringing my personal concerns and sustained artistic work on-chain.

Blockchain became more than a distribution channel in my practice. It became part of the work’s structure and history. E-Power grew from my interest in Ethereum and smart contracts. In April 2022, I created Cyber TX, a collection of 24 fully on-chain works on Tezos, each only 8 × 8 pixels. The technical constraint was integral to its visual language.

A turning point came through punk6529 and The Memes by 6529. I had lived with memes, shared them, and watched them travel, but my collaboration with Naime Pakniyat on SEIZE THE GM was the period when I began consciously thinking about making a meme. From there, my meme-making practice took shape. I became interested in why some images disappear while others are copied, changed, and carried into a shared cultural memory.

For me, ReMeme is a way of continuing an idea through reuse and transformation. CC0 and remix culture matter because an artwork can begin another life when others take it up. Alongside this collective dimension, I continue to make personal work. The After Me collection, begun around September 2023, approaches each work as a page from a diary.

During my years working with NFTs, my work has been presented on several occasions at Beeple Studios. These presentations brought my digital practice into shared exhibition spaces.

My practice also extends into curation and community participation. In 2023, I created PepeTracker on DECA, which grew to more than 240 NFTs and received an MVG Most Valuable Gallery recommendation. I was selected as a DECA Decurator that August. I also participated in the MoMA Postcard Project, recording my work and signature on two postcards on-chain, and contributed my work Sadeh to the collaborative Network Christmas Tree card in The Memes by 6529.

In 2026, I created That’s Some Bullshit, a collection of 17 works and the most significant project in my artistic practice to date. This extended body of work represents the central development of my practice that year and a major milestone in my work as an artist.

Across these activities, I return to the relationship between images, digital identity, ownership, provenance, and collective memory. A meme can be a joke, an archive, a signal, or a cultural vessel. My work lives in the space where private experience meets the public life of an image.

Read the full resume and exhibition history

Official profiles

Artwork collections

Public data and API

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