Metawave
Inked
Metawave is a generative art project exploring resonance, identity and the stories we write on our own bodies. Inked is a series of stylised, photoreal tattoo portraits — skin and ink rendered in soft light and quiet detail, like stills from a gallery of living artworks.
Each piece is algorithmically generated from a unique seed and trait configuration.
Generation 010 · Inked
Inked
Inked is a 444-piece generative fine-art collection centred on the body as canvas.
Each artwork focuses on a real-world tattoo moment: a forearm turned toward the light, a back revealing a sweeping design, hands, necks, ribs and ankles carrying symbols, florals, constellations and script. Men and women of varied ethnicities appear in partial views — faces are often cropped or softly present, so the ink, posture and mood remain the focus.
The style is photoreal yet curated: soft cinematic lighting, clean or textured backdrops, a balance of minimal fine-line pieces and complex compositions. Every scene is designed to feel like a portrait of a life, not just a design.
Selected works
View full gallery →A small sample from the Inked collection.
Concept
Inked asks what we choose to carry on our skin — and how those marks change the way light finds us.
This collection treats tattoos not as fashion accessories, but as personal myths: stories about grief, love, faith, strength, humour, memory and belonging. Each piece is built from traits — body placement, style, theme, scale, palette, setting and light — then rendered as a portrait where the ink is the central character.
The emphasis is on diversity and dignity: men and women, a wide range of skin tones and body types, different cultures and aesthetic traditions. All are presented with respect, softness and a fine-art eye.
Mint
Minting for Inked is coming soon.
Follow for updates and release details as the series approaches launch.
Join the Inked Mint Whitelist for a 50% Early Adopter Discount →Other Collections
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.
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.
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.
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.
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.
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.
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.
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.
Mama
Mama is a generative portrait collection honouring the strength, tenderness and quiet power of African and diasporic womanhood — ink-and-watercolour silhouettes rendered as fine-art mixed media.
Toys
Toys is a photorealistic steampunk study of Victorian and early-20th-century children's inventions: clockwork animals, brass curiosities, wind-up figurines and ornate mechanical playthings.
Each piece feels like a rediscovered artifact from an inventor’s workshop — warm light, wood grain, burnished metal, glass lenses, gears, springs and the soft charm of handmade engineering.
Worlds
Worlds is a generative collection of vast, photorealistic planets and moons in deep space: distant exoplanets rendered with cinematic realism and quiet cosmic awe.