Manifesto
Worlds
333 Tokens
Worlds is a generative art collection about the dignity of distant planets: imagined exoworlds rendered as if they were real, vast and quietly enduring.
Planets as portraits
Worlds treats planets the way portrait photography treats faces. Each image focuses on a single world, sometimes accompanied by its moons, placing it against a simple cosmic background. The aim is not to depict action but presence: the steady turn of a sphere in the light of its star.
Cloud systems, ice caps, mountain ranges and oceans are hinted at through texture and tone rather than overstatement. The compositions are spare. There is space to breathe.
Astronomy without machines
There are no ships, stations or traces of civilisation in Worlds. The collection is interested in planets as they are: the choreography of gravity, gas, rock and light.
The visual language borrows from telescopic imagery and cinematic space art, but the focus is always on plausibility. Atmospheres scatter light, shadows fall in the right direction, rings and moons obey orbital logic. Even in the most unusual pieces, the worlds feel like they could exist somewhere.
Light, scale and stillness
The emotional core of Worlds is stillness. A crescent seen against a nebula, a gas giant half in shadow, a small moon crossing a bright limb — these are quiet moments on astronomical timescales.
Light does most of the storytelling: warm stars casting amber highlights on deserts, cold blue-white stars hardening the edges of ice, deep red dwarfs turning atmospheres into wine-dark veils. Scale is never shouted; it is implied by curvature, by the thickness of a haze layer, by the relative size of a moon.
Imagined, but honest
All of the worlds in Worlds are imagined. They are generated from code and prompts, not from telescope data. Yet the collection aims to be honest in its relationship to reality: it respects physics, hints at known planet types and avoids easy fantasy shortcuts.
Taken together, the images form a quiet atlas of could-be places — an invitation to remember that the universe is almost certainly stranger and richer than anything we can depict, and that even imagined planets can evoke a sense of real distance and real time.
Other Collections
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.
Chairs
Chairs is a study in sculptural absurdity: a museum-grade exploration of chairs that push beyond functional design into expressive, impractical, and architecturally playful form.
Each work is a hyper‑photorealistic portrait of a chair behaving more like a sculpture: a seat that bends too far, loops into itself, contradicts its own engineering, or performs gestures no practical furniture would ever attempt.
The result is a collection where fine‑art photography meets conceptual design, blurring the boundary between object, artwork, and architectural experiment.
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.