Before the NFT market emerged, Coldie was among the digital artists who struggled to find opportunities in the traditional art world because there was no way to prove scarcity for work that could simply be copied.⁶ He traces his fascination with three-dimensional imagery to childhood memories of View-Master reels, and first used the digital painting tool MacPaint at his grandparents' house in 1986, at age four.^1,7 In 2019 he sold his genesis piece, Vitalik Buterin - Decentral Eyes, for 1.5 ETH, and bought it back two years later for 17.5 ETH after it resurfaced on the secondary market.⁴ Since 2018 he has also built a personal collection of blockchain art, reinvesting roughly 30 percent of his own sales into work by other artists.⁵

His series Filthy Fiat extends, alongside Decentral Eyes, his commentary on the shifting power dynamics between blockchain technology and traditional financial institutions.³ The series explores the fragility and impermanence of fiat currency through his own experience with the financial system.⁸ He was one of the artists featured in the 24 Seeders installation at Kunsthalle Zürich's 2022 exhibition “DYOR”.⁹ At the 2023 Non Fungible Conference in Lisbon, he created a live piece by producing AI prints and then cutting and burning them.¹⁰ In 2025 he created a stereoscopic VR portrait of Keith Haring on a restored 1980s Quantel Paintbox as part of the Tezos Foundation and ArtMeta's Paintboxed world tour, and released Tech Epochalypse - Decentral Eyes, an interactive collage series turning five technology figures into three-dimensional, manipulable portraits.^7,11 His 2020 work Lost Vitalik was later included among the 100 pieces in Roger Dickerman's Digital Art Pantheon survey of NFT artworks.¹²