Generative Projects
If I had to define my work with generative images and video, I’d say I’m a videoartist choreographing AI simulations.
Rather than treating generation as automation, I approach it as a field of tension between control and unpredictability, where images emerge through a dialogue between artistic intention and machine behavior. These works investigate transformation, embodiment, memory, and simulation, creating visual worlds in which the organic and the synthetic continuously contaminate one another.
For me, AI is a field of continuous experimentation.
What excites me most is the challenge of bending image and video generative models, still imprecise and constantly pulled by the logic of their algorithms and training, toward my own vision. My personal mission is not to adapt to the model, but to force the model to adapt to the work. There is nothing worse, for me, than being dragged onto the model’s battlefield and accepting its biases, its shortcuts, its visual habits as if they were a language. That is why my process is always hybrid. I build spaces in 3D, develop sketches, use guide animations, references, and structural visual anchors in order to constrain, redirect, and reframe the generative process.
In the hands of an artist, these models should not be treated as authors or oracles, but as what they can become at their best: highly intelligent, deeply creative simulators and rendering engines capable of serving a precise artistic intention rather than replacing it.
The Gallery
The Gallery is an experimental dystopian series set in an art gallery that exists nowhere, suspended between the real and the artificial. Sometimes embedded in familiar landscapes, sometimes floating in deep space and breaking apart into pixels, the gallery becomes a metaphor and a literal embodiment of contemporary art’s liminal condition.
Within this unstable architecture, generative video models are pushed away from realism and narrative spectacle toward performance, symbolic gesture, stillness, and ritual. Each episode follows the preparation of a surreal event that inevitably ends with an uncanny rupture, revealing the gallery’s true nature as a monstrous and famished organism feeding on flesh, images, and pixels.
Blood & Ink
This ongoing series of AI animations began with a simple and intimate gesture: I took my archive of drawings, collages, performance sketches, and rough drafts, and brought it into dialogue with AI. Not to be imitated, but to be understood.
What I wanted to preserve was the unstable, physical quality of the gesture: the dust of graphite, the grain of paper, the stain, the accident, the productive role of error.
Through dense and carefully layered prompts, I tried to retain that imperfect organic texture not only within each image, but also in the transitions between them, allowing one form to bleed, scratch, and transform into the next.
All the videos share the same visual language, yet each revolves around a different symbolic core: the crow, the house, and time. Together, they became a way to look back into my own visual imagination and recognize something that has always been there: the female body as a surface of constant transformation.
Paradoxically, it was through dialogue with a machine that I rediscovered the most fragile, material, and vibrating dimension of my own gesture.