Chromzy began as a question about adjacency — how far two colours can stand apart before the eye stops reading them as a pair. The system answers it 4,444 times and never the same way. It owes its grammar to Josef Albers and the Bauhaus colour course: interval, value, and the quiet pressure one field exerts on its neighbour.
Each plate is four nested rectangular fields. The composition is fixed; only the palette is drawn anew — a base hue, an interval, a direction of value. The work is the rule. The plate is one of its readings.
No two plates share a palette. Holders do not own a picture so much as a single, unrepeatable resolution of the system — recorded on Solana and never re-rolled once signed.
The palette is generated, numbered, and committed at the moment of minting. There is no reveal and no reshuffle. What fell, fell. The catalogue keeps the record exactly as composed.
An edition deserves an index, not a hype cycle. The site is built as a catalogue raisonné — every plate browsable by palette family, interval, and value run, attributed to the colourist who composed it.