Aurum

The title of this project comes from the Latin word aurum, meaning gold. Gold has long been a symbol of wealth, beauty, and permanence, its allure reaching from ancient ritual to modern display. Here, however, the project extends beyond gold alone to include its counterparts: silver and bronze. Together these three metals form a classical hierarchy, familiar from medals and monuments, but reimagined here not as physical matter, but as images — constructed illusions that persuade us to believe in their weight and shine.

Each object in Aurum is fabricated entirely through artificial intelligence. A goblet, a spoon, a tea pot, a crown: all are conjured through text prompts and rendered with clinical precision. Every image follows the same controlled arrangement — a polished walnut table, a seamless black background, and a single directional spotlight, as if staged for museum photography. This discipline isolates the objects, stripping away narrative or distraction. What remains are forms suspended between fiction and reality, convincing in their detail yet impossible in their existence. In this sense the project is a kind of digital alchemy: language transformed into surface, texture, and gleam.

But Aurum is not a catalogue of treasures. It is an experiment in belief. Gold dazzles with ornament, silver sharpens into clarity, and bronze carries the gravity of time — but none of these metals are present. They exist here only as synthetic images, digital hallucinations that hold authority through their staging. The clinical restraint of the series is deliberate: by removing excess, the work exposes illusion itself as the subject. These objects do not belong to history or wealth; they belong to the space where simulation convinces us of presence, even when nothing is really there.