Introduction

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Fictional driftwood cabinets built from wreckage that never existed — constructed through artificial intelligence, not carpentry. Weathered planks, peeling paint, rusted hinges and traces of graffiti suggest realism, yet nothing here is real. These are impossible artefacts: convincing fictions designed to seduce the eye and subvert belief.

Digitally constructed floral compositions inspired by Dutch still-life painting — baroque, hyperreal, and precise. These bouquets never wilt or fade, their petals suspended in light and shadow. Conjured entirely through language, Anthos transforms abundance into illusion: flowers that exist only as image — radiant, impossible, and unreal.

Sculpted wooden flowers that exist only as illusion. Neither wood nor flower, these hyperreal forms are crafted entirely with AI — never carved, never painted, never touched. The images invite the viewer to believe in what cannot be held: digital objects that feel physical, poised, and precise. Every surface suggests weight, texture, and craftsmanship.

Inspired by Murano exuberance and Lalique restraint, these floral sculptures shimmer with the appearance of glass. They fuse decorative tradition with digital invention. Neither flower nor glass, each form is crafted entirely with artificial intelligence. Gleaming, translucent, smooth, and crystalline. The mind believes what the eye can see.

Idealised male physiques inspired by ancient Greek gymnasium culture. These figures are sculpted not by hand, but by language — dreamed into being, not photographed. Competition, rivalry, and erotic tension converge in images that celebrate the body as the product of discipline and exercise, charged with homoerotic intent.

Here, AI becomes a kind of kiln — a crucible where words are fired into form. Drawing on Shino and Raku traditions, these ceramic objects appear glazed, crackled, and poised between function and abstraction. Illusory yet tactile, Forma explores the boundary between usefulness and beauty, material and simulation, belief and perception.

Nature reimagined through an artist’s eyes. These images shift from observation to expressive abstraction — brushstrokes without brushes, paintings without paint. Colour and texture record sensation rather than reality. Created entirely with AI, Nemoris explores how nature might be translated into image — through words, gesture, and technology.

Suspended sculptural forms made of simulated fabric, metal, and discarded plastic — crafted entirely with AI. These assemblages feel physical: draped, buckled, and twisted into dynamic tension. Structa examines the textures of consumption and material excess, conjuring an architecture of detritus that reveals the strange beauty of discarded things.

Minimalist tulip studies inspired by Robert Mapplethorpe — stark, sensual, exacting. Where Anthos revels in floral abundance, Thalis embraces restraint: one flower, one gesture, rendered through AI with photographic precision. These images are quiet  studies in beauty, simplicity, and the tension between light and shadow.

This floral series expands traditional cyanotype into a layered, digital spectrum. Created entirely with AI, some images explore CMYK halftones, colour floods, and offset textures, while others remain anchored in deep Prussian Blue. The work transforms botanical motifs into compositions that blur the line between print history and synthetic invention.

Here, the dirty workwear of manual labourers is fetishised through the lens of queer desire. These working-class heroes — gritty, tired, and masculine — were all created with AI. The images explore the tension between hardness and vulnerability, exposure and protection, and the slow, unspoken torture of wanting someone you can’t have.

This series of synthographs begins with a cut — into linoleum or wood. Stylised flowers and the male body emerge from these virtual surfaces, carved in digital relief. Inspired by traditional Linocut and Woodcut printmaking, but created entirely with language, these images explore how prompt and pressure can echo the mark of the hand.

Etched into black ink against off-white ground, these images recall the precision of etching and engraving. Male bodies and floral motifs alternate — rigid, poised, and controlled. AI hallucinations become part of the medium’s charm. Not pastiche or reproduction, but simulation. A modern take on classical ideals, made with the hand that doesn't exist.

Pull presents bold, colourful male portraits and figure studies imagined through AI with a screenprint aesthetic. Layered and luminous, these images transform the body into surface, icon, and gesture. More than imitation, they are synthographic visions — charged, sensual, and unapologetically contemporary in their presence.

Ceramic vessels paired with tables, rendered entirely through AI. From glazed finishes to mid-century lines, each composition feels plausible yet impossible — photographic, but not real. Ceta explores design through simulation, using AI as both sketchbook and lens. Nothing is physical, yet everything follows the logic of the tangible.

A digital nature study rendered with Flux 1.1 Pro Ultra. Synthetica explores artificial landscapes made by AI — glitched, pixelated, painterly, and precise. These images do not simulate reality; they reimagine it. Bold, synthetic, and unapologetically artificial, this is nature through the machine’s eye: invented, improbable, and eerily believable.

Ficta presents a collection of AI‑generated sculptures — non‑objects that feel tactile, uncanny, and utterly believable. Crafted in simulated materials, these impossible artefacts invite viewers to linger in a contemplative space between illusion and reality. Quiet, surreal, refined — yet undeniably physical in presence.

A series of imagined floral ceramics where clay and flowers merge into hybrid forms. Created with artificial intelligence, these objects hover between handmade and impossible — blossoms become vessels, petals collapse into bowls, blooms dissolve into abstraction — each carrying the uncanny tactility of things that don’t exist.

Tactile illusions rendered in soft, synthetic light. Textura explores the emotional resonance of material surfaces — nests, knots, voids — formed from simulated thread, fibre, and fabric. These are not objects, but sensations: visual murmurs of touch, memory, and silence. A suite of synthographs that whisper to the hand, as well as please the eye.

This series explores the simulated precision of vector graphics using generative AI. Clean lines, bold colours, and geometric motifs echo the aesthetics of digital design software — without using any. These are not true vectors, but visual imitations: constructed by prompts, rendered by machine, and flattened into symbols, shapes, and surface.

Flowers as surface and ornament. Inspired by William Morris yet conjured by artificial intelligence, these images transform nature into decoration — lush, luminous, and infinitely repeating. Each pattern is hyperreal yet unreal, convincing yet impossible — abundant without bouquets, ornamental without borders, infinite without end.

Elysia is the romantic chapter of Anthos — painterly floral compositions that hover between form and gesture. Soft, luminous, and dreamlike, they dissolve realism into mood. These bouquets are tokens of intimacy reimagined in digital form: abundant yet weightless, ephemeral yet tender, like fragments of romance suspended in light.

Echo is an experiment in reversal: artworks generated not from prompts, but from their own written descriptions. Each image is an echo of its text, a reflection made strange. The result is a cycle of translation — language into image, image into meaning — where creation folds back upon itself. What you see here is art eating itself. Now there’s an interesting thought.

Gestura stages painting as theatre: acid colours and expressive gestures pressed into pixels, framed and vandalised. Bold and performative, the work owes debts to Saville, Twombly, Pollock, and Emin, yet emerges as pure synthography — pictures painted with words, staged for an audience that insists on believing.

This project transforms gold, silver, and bronze into believable synthetic illusions. Minimal, museum-like objects appear weighty, physical, and tactile, but are conjured entirely with artificial intelligence. Each image is digital alchemy: surfaces that persuade the eye yet cannot be touched. Precious metals, made real by language and simulation.

Images that remember the feel of lithography. Male figures, flowers, tusche wash, and waxy crayon marks dissolve into textured illusion. Some forms are faint, others bold — but all are imagined. These are not lithographs, but synthographs: artificial impressions that simulate presence, pressure, and memory through the surface logic of stone.

Strata reimagines collage through Flux, where ceramics, design-classic chairs, sticker plants, and flat flowers collide with graffiti vandalism and digital overlays. These works borrow Photoshop’s logic of layers and sabotage, producing unstable images that feel built, erased, and rebuilt. Synthetic illusions staged as posters, restless and defiant.

Typo explores the beauty of illegibility. Inspired by Carson and Brody, this series embraces spelling mistakes, pseudo-alphabets, and typographic collapse. Pages fracture, words dissolve, and meaning drifts into noise. Flux’s weakness with text becomes its strength: communication is not what words say, but what they refuse to say.

Here, brushstrokes become internal weather systems. Storm investigates mood instability through abstraction — how depression is not a metaphor but a real climate in the mind. These synthographs fracture the language of painting: bold gestures, bruised tones, shifting pressure. They are psychological environments — visceral, agitated, and restless.

Three materials that should resist one another — glass, ceramic, and wood — are persuaded to coexist. Under the precision of artificial intelligence, they learn empathy through tension. Each image reveals a fragile accord: clarity meeting weight, reflection meeting warmth, difference held in balance. Beauty emerges, not from harmony, but from understanding.

Illustra explores the origins and future of illustration through simple, AI-generated drawings of everyday ingredients. These images question what remains of craft when the hand is replaced by the prompt. A collaboration between artist and machine, the series reflects on skill, authorship, and the evolving act of making pictures in the age of artificial intelligence.

Light isn’t colour; it’s energy. This project explores illumination as both substance and condition — geometry, vibration, and frequency rendered as synthographic digital artworks. Across eighteen images, light behaves like a living force: crystalline, etherial, and infinite. The work is not about looking at light, but standing within its quiet radiance.

On the pebble beaches of Rottingdean, on the south coast of England, Totem gathers seaweed, feathers, driftwood, and stone into quiet digital rituals. Each assemblage feels both handmade and elemental — part sculpture, part apparition — a series of small prayers to impermanence, offered to the tide where nature and imagination briefly touch.

This project explores the sensation of flesh through simulated paint — not the body’s external image, but its inner pulse. Eighteen synthographs blur language and material, where meat becomes metaphor and colour behaves like anatomy. A meditation on matter, mortality, and beauty hidden from view beneath the surface.

Splice explores collaboration between artist and artificial intelligence — a fusion of craft and cognition. These synthographs draw on the ceramic “third firing,” where matter gains reflection and unpredictability. Each piece becomes a dialogue between human and machine: language as clay, image as thought, surface as consciousness.

A series of eighteen digital camouflage paintings exploring bureaucratic distortion, diagnostic uncertainty, and the quiet violence of misinterpretation. F31.ER4SE transforms system failure into abstract pattern, colour drift, and procedural fracture — a synthographic examination of how institutions see, mis-see, and overwrite the human.