South African company helps hang 地元の art in 事実上の world
By Sisipho Skweyiya
JOHANNESBURG, June 2 (Reuters) - As South African artist Fhatuwani Mukheli paints a portrait of a woman at his Johannesburg studio, he is creating not only the work before him but also a 数字表示式の 資産 運命にあるd to adorn a 事実上の world.
Mukheli uses The Tree, an online marketplace for South African artists to 促進する and sell their art as 非，不，無-fungible 記念品s (NFTs).
"There's a 事実上の world where people are buying land in it," said Mukheli, referring to the metaverse, a three-dimensional 数字表示式の reality that tech 巨大（な）s like Microsoft and Facebook say is the 未来 of the internet.
"People have 所有物／資産／財産s there ... and your art can be on those 塀で囲むs."
Mukheli's 顧客s receive both the actual canvas and the NFT, while other artists on The Tree sell up to five 限られた／立憲的な 版 NFTs for each piece, akin to 数字表示式の prints. Mukheli has already made thousands of dollars by using the 壇・綱領・公約.
"I think it's important as an artist and a creative to always play where the ball is going and not やむを得ず where it's at," said Trevor Stuurman, one of the four other artists 現在／一般に showcasing their work on The Tree.
Critics say blockchains, 数字表示式の ledgers used to 蓄える／店 （警察などへの）密告，告訴（状）, are not 気候-friendly because they guzzle 計算するing 力／強力にする.
The Tree says it saves energy by running on Polygon, a blockchain that uses a fraction of the 力／強力にする, and 相殺するs each 処理／取引 by sending money to Greenpop, an 環境の organisation that 工場／植物s trees across Sub-Saharan Africa.
"It's not just about art and artists and the story, it's about making sure that this growth in 科学（工学）技術 for artists doesn't come at a cost to the 惑星," said Dan Portal, co-創立者 of The Tree. (報告（する）／憶測ing by Sisipho Skweyiya; 令状ing by Hereward Holland; Editing by Alison Williams)
