Metawave
Chairs
Metawave is a generative art project exploring the edges of design, geometry and realism.
Chairs examines the sculptural absurdity of the chair as an artistic object — photographed as though real, shaped with the language of design, yet free from the constraints of practicality.
Each piece is algorithmically generated from a unique seed and trait configuration.
Generation 028 · Chairs
Chairs
In Chairs, form and expression meet. Each piece feels like a real studio photograph of a chair that behaves more like a sculpture: looping frames, exaggerated gestures, curves that overperform, and structures that prioritise visual poetry over function.
Selected works
View full gallery →A small sample from the Chairs collection.
Concept
The design language begins with architectural logic, then stretches it: bending proportions, splitting lines, merging components into expressive contradictions. The lighting remains museum‑clean; the materials feel handcrafted; the sculptural attitude emerges immediately.
Mint
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Form
Form is a study of shape without function: one thousand abstract physical objects exploring curvature, topology, material and light in controlled studio space.
Spectra
Spectra is a study of matter revealed as light.
Each work is rendered as a long-exposure spectral field — a restrained, museum-grade image where compounds and materials appear as bands and lines held against deep charcoal. These are not diagrams. There are no axes, grids, labels, or legends. Only the quiet evidence of a signature.
Across the collection, four regimes are held in tension: hydrocarbons, nuclear fuels, clean-energy materials, and metal alloys. The politics is embedded in comparison, not slogans — warmth versus precision, diffusion versus containment, abundance versus legacy — expressed only through light.
Katheros
Katheros is a generative fine-art collection of ink-based geometric compositions — pure lines, sacred shapes and interference patterns rendered with mathematical clarity and quiet aesthetic restraint.
Dust
Dust is a study in chalk, pigment and breath — abstract forms arranged like quiet mathematics.
Circles, lines and woven geometries drift across soft paper textures, fading at the edges as if they were drawn and erased a hundred times before settling into their final shape. Some pieces feel like blueprints, others like constellations or half-remembered maps, but all of them carry the same powdered calm: the hush of chalk hanging in the air.
Caustic
Caustic is a study in purity under assault. Minimal geometric forms — circles, squares, bars, planes — placed against soft neutral fields. Perfect shapes eroded by chemical light, corroded edges, pigment burn, structural decay, and caustic dissolution.
Every token is a meditation on tension: order versus breakdown, geometry versus entropy, serenity versus corrosion. A single shape becomes a battlefield for chemical destruction.
Manor
Manor is a photographic archive of European country estates spanning centuries of architectural evolution, documenting layered histories of rural residences, interiors, gardens and grounds.
Icon
Icon is a body of work about symbols — how colour and form can carry meaning without words.
Each piece feels like a sign encountered rather than explained: bold shapes held in balance, strong colours standing with confidence, moments that register instantly and remain quietly present.
Across the collection, love appears sparingly, like a signal sent with intention — changing the feeling of the image without overwhelming it.
Remanence
Remanence is a study of the human face recorded as light over time.
Each work depicts a recognisably human facial form rendered as a sparse spatial point cloud and subjected to long‑exposure spectral recording. Motion across the exposure produces temporal echoes — red‑shift and blue‑shift afterimages that reveal the face at different moments in time.
These are not portraits. They are residual impressions: what remains of form once time, movement, and wavelength have been allowed to interfere.
Glitch
Glitch is a chronicle of generative destruction — a moment where order dissolves and creation is forced to rewrite itself.
Each image captures the instant a system breaks open, revealing the raw mechanics of collapse: torn planes, corrupted colour,
fractured geometry and unstable architectures dragged through the turbulence of a failing render.
This is not destruction as decay, but destruction as generation: new forms born through rupture, error and computational stress.
Glitch is the story of a machine unmaking itself — and in doing so, discovering unexpected beauty in the wreckage.
Trace
Trace is a study of perception — a hybrid visual language where photographic fragments become architectural diagrams, and linework reveals the hidden structure inside the world.
Each artwork begins with real photographs: textures, objects, architectural details, or natural fragments. These images are arranged as intentional collages — quiet, asymmetric, evocative. Over them, precise linework unfolds: topographic contours, orthographic projections, and geometric extrapolations that reinterpret the photograph’s form.
Trace sits between blueprint and sketchbook, between fine-art print and architectural analysis. It is a dialogue between what is seen and what is understood.
Punk AI
Punk AI is a generative collection of rebellious machine-made abstractions: glitch, noise and digital interference rendered with a fine-art sensibility.
Vestige
Vestige is a photographic record of the remains of a civilisation that may never have existed: monumental stone figures whose faces offer no clear distinction between portrait and subject.