Oblecta

These are not sculptures. They are what comes after sculpture. Oblecta is a collection of fictional forms—constructed not from matter, but from language. Each image depicts an object that does not exist, but feels as if it might. Each one tells a story without a narrative—a kind of sculptural poem. Materials appear convincing—rope, resin, stone, steel—but their presence is performative. Their truth reveals a lie. Reality here is a carefully constructed illusion. The forms you see are synthographic simulations: post-material artefacts dreamt into being and crafted through precision prompt engineering. They attempt to manifest ideas, feelings, and sensations. I think, therefore I am.

The works share no fixed origin. Some resemble museum or gallery exhibits. Others feel forensic, devotional, industrial, or medical. There are no clear functions—only implications. Some contain. Some bind. Others merely endure. There are echoes of the human body throughout: the impression of weight, a rope that restrains, a void that cannot be filled. Together, they speak to a material history that never occurred, held together by surface tension and imagined memory. The erotic, when it emerges, is strange, disturbing, and unresolved. What you are seeing is the appearance of presence: fragments from an imaginary archive.

Created entirely with artificial intelligence, these images are an exploration of simulated material truth. The series engages directly with the traditions of assemblage, conceptual sculpture, and the found object. It is influenced by Dada, Surrealism, and Arte Povera, but does not imitate them. Oblecta is not nostalgic. It is post-material—a sculptural proposition born not of matter, but of belief. These objects cannot be touched. They do not exist in three dimensions. They can only be seen, imagined, accepted or dismissed. Reality is a construct—but so is fiction. These works explore the space between the two. There is no craft here, only control. No studio, only simulation. Oblecta challenges the viewer to believe in something not because it exists, but because it looks like it should.