Metawave

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.

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.

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.

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.

Woman in Vogue

Woman in Vogue is a 222-piece generative fashion-portrait collection reimagining the feminine figure as an abstract editorial icon — bold colour fields, flowing linework and pure silhouette without logos or branding.

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.

Bugs

Bugs is a generative macro-photography collection focused on ultra-realistic, up-close portraits of garden insects. Each image is rendered as if shot with a professional macro lens: shallow depth of field, crisp anatomical detail, natural light and organic environments — revealing an entire hidden world living on petals, leaves, moss and bark.