Metawave
Refractions
Metawave presents Refractions — a fine-art exploration of light passing through glass, water and crystal.
Each piece is algorithmically generated from a unique seed and trait configuration.
Generation 026 · Refractions
Refractions
Refractions focuses not on light itself, but on what happens when it meets a surface.
A single beam shatters into a spectrum through a triangular prism. A simple water glass bends a background grid into soft distortions. Droplets on glass transform distant points of light into warped jewels. Cut crystal and faceted gemstones throw spectral fragments across dark studio backdrops.
The collection leans into ultra-photorealistic still-life photography: sharp edges, micro-scratches in glass, caustic patterns on surfaces, thin-film interference, and the quiet drama of clean, controlled compositions. No people. No text. Just light, matter and the physics between them.
Selected works
View full gallery →A small sample from the Refractions collection.
Concept
Refractions is structured around the interaction of three things: material, light source and environment.
Object traits describe the medium — clear glass tumblers, thick optical blocks, triangular prisms, lens stacks, faceted crystals, gemstones, glass spheres, shallow water pools, droplets on panels, soap-bubble films, oil-slick thin films and more.
Light traits define direction and character — tight white beams, softbox diffusion, warm lamps, cool LEDs, backlit windows, direct sunlight and coloured accent lights.
Pattern traits govern the resulting behaviour — simple bends, multi-pass internal reflections, caustics projected onto nearby surfaces, rainbow dispersion, overlapping refraction fields and complex spectral breakup.
Together they create still images that feel like carefully lit studio shots, grounded in believable optics, framed with gallery-level restraint.
Mint
Minting for Refractions is coming soon.
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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
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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.
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.
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.
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Glitch
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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.
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.
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