Metawave
Infernalis
Metawave explores the emotional life of images through generative art. Infernalis invites you into a house of portraits — a long corridor of pale faces and crimson mouths, each one holding a story it will never fully tell.
Each piece is algorithmically generated from a unique seed and trait configuration.
Generation 020 · Infernalis
Infernalis
Imagine a building you cannot find, standing somewhere between an old city and a dream.
Its doors are always unlocked, but no one remembers walking in. You simply realise, at some point, that you are inside: that you have been moving through cool air and soft echoes, past lamps that never quite burn out.
On the walls hang 333 portraits.
Each image presents a single figure with bleach-white skin and red lips: men and women, young and old, wrapped in cloaks, shawls and layered fabrics that suggest a ceremony you have missed the beginning of. Some stand on balconies above winter streets; some wait in marble corridors; some pause by archways, staircases or pools where the light trembles.
Their eyes hold the real story. Soft brown, muted grey, startling blue, green like glass, jet black, pale as snow, flecked with gold — every gaze feels as if it has already measured you and found you familiar. Red appears only as an accent: the line of a mouth, the edge of a garment, a thread of pattern on a sleeve.
The portraits do not move, yet the building feels alive. It is as if you have walked into a memory that belongs to many people at once.
Selected works
View full gallery →A small sample from the Infernalis collection.
Concept
Infernalis is built like a place you could almost visit — a generative house of portraits, assembled from constraints and chance, and animated by the simple human act of looking back.
The rules are strict but invisible to the viewer: every figure bleached to porcelain, every mouth marked in crimson, every scene lit with patience. Clothes repeat but never quite in the same way. Hallways return from different angles. Balconies overlook different weathers. The same kind of face appears at different ages, as if you are meeting the same soul at different points in its life.
You do not need to know how the work is made to feel what it is doing. It asks small, persistent questions: Who are these people? Why do they seem so composed? What have they seen? What does it mean to stand and allow yourself to be witnessed without explanation?
Infernalis is less a fiction than a space: a corridor you can keep walking, where each new portrait offers another version of stillness, another experiment in presence.
Mint
Minting for Infernalis is coming soon.
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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.
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.
Punk AI
Punk AI is a generative collection of rebellious machine-made abstractions: glitch, noise and digital interference rendered with a fine-art sensibility.
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.
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.
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.
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.
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.
Savanna Spirit
Savanna Spirit is a generative fine‑art NFT collection celebrating the nobility and power of African wildlife through cubist geometry, sun‑baked colour and cinematic composition. A tribute to the living kingdoms of the savanna — lions, elephants, giraffes, zebras and more — rendered in fractured planes, bold contours and heat‑haze atmosphere.
Inked
Inked is a 444-piece generative fine-art collection exploring human skin as a living canvas — simple and intricate designs on men and women of many ethnicities, photographed in soft, cinematic light with a focus on ink, form and quiet emotion.
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.