Infernalis · Token Detail
Infernalis #65
Each Infernalis token is a doorway into the same unseen building.
You meet one person at a time: a young woman at a balcony, an older man in a marble hallway, a figure of no clear age paused beneath an archway. Their skin is always bleach-white, their lips always red — a fixed signature that binds the collection together like a dress code no one has explained.
Around that constant, everything else shifts. Faces grow older or younger. Hair appears or disappears, sometimes hidden under hoods, sometimes falling dark, pale or blood-red against the light. Eyes change colour and character — soft, guarded, distant, attentive. Rooms appear and reappear: staircases, courtyards, interiors lined with fabric and shadow.
Nothing overtly dramatic happens in these images. There are no monsters, no symbols to decode, no explicit narrative. Yet each portrait feels like a moment taken from a longer story: someone waiting to speak, or to leave, or simply to outlast the silence.
Seen together, the collection feels less like a gallery of characters and more like a single, continuous place that you are slowly learning how to walk through.
Token information
- Collection
- Infernalis
- Token ID
- #65
- Gender
- Woman
- Age
- Aged
- Scene
- Eclipse Terrace
- Garment
- Shadow-Patterned Cloak
- Composition
- Echoed or Double-Exposure-Like Figure
- Rarity
- Rare
Owner information
More from Infernalis
Other Collections
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.
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.