A chronological index of AI-generated synthographic artwork

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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 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.

This project stands as the bridge between past and future — a beginning disguised as an ending. Here, Flux.2 reinterprets eighteen earlier projects using their original texts, reading, misreading, and reimagining them into new forms. Not a retrospective but a hinge, Archive reveals how vision evolves when one system inherits the dreams of another.

A study of male self-performance in the era of the mirror selfie. These eighteen synthographic images explore vanity, eroticism, and the rituals of the body — where men pose for an unseen audience and the camera becomes both confessional and stage. A portrait of masculinity where exhibitionism and sexuality merge, created with Flux.2. Pro by Black Forest Labs.

Here I present eighteen synthetic black & white portraits made with Flux.2 Pro — images that behave like photographs yet belong entirely to the digital imagination. These young men feel observed rather than invented, holding a quiet, contemporary presence that questions what portraiture becomes when the sitter is a fiction rendered with photographic precision.

Eighteen synthographs which explore the male body not as an object, but as an active, physical presence. These synthetic figures stand, strain, kneel, and touch — rendered with the gravity of historical figure painting and the immediacy of queer desire. Drawing on physique culture and creation myth, the series presents masculinity as animated, intentional, and fully alive.