Metawave
Savanna Spirit
Metawave is a generative art project exploring resonance, form and the architecture of emotion in visual storytelling. Savanna Spirit is a celebration of noble wildlife and burning horizons — cubist geometry carved from heat, dust, muscle and light.
Each piece is algorithmically generated from a unique seed and trait configuration.
Generation 008 · Savanna Spirit
Savanna Spirit
Savanna Spirit is a generative collection of African wildlife portraits shaped through fractured geometric planes, sun‑drenched palettes and the atmospheric realism of dust, heat and open sky. Each artwork depicts an animal or herd in silhouette or profile — lions on stone outcrops, elephant families moving through dust storms, zebras becoming black‑and‑white pattern geometry, giraffes stretched into cathedral‑tall curves. A world of silhouettes, thunderous footsteps and breath like smoke — a living kingdom presented in reverence and awe.
Selected works
View full gallery →A small sample from the Savanna Spirit collection.
Concept
Savanna Spirit asks what happens when nature becomes architecture — when muscle becomes geometry, when fur becomes pattern, when heat becomes light refracted into planes. The animals are not mascots or cartoons; they are monuments — sculptural presences rendered through cubist reduction and expressive colour. No buildings, no humans, no fences — only the enduring sovereignty of the wild.
Mint
Minting for Savanna Spirit is coming soon.
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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.
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.
Punk AI
Punk AI is a generative collection of rebellious machine-made abstractions: glitch, noise and digital interference rendered with a fine-art sensibility.
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.
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.
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.
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.
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.
Wonderland
Wonderland is a generative worldbuilding collection in which every scene — from ancient ports to future skylines — features a small cybernetic white rabbit wandering through places that feel both remembered and impossible. Each image is a moment of encounter: a clean-anime, neon‑lit world where the rabbit acts as a quiet guide, slipping between eras, geographies and ideas as if the boundaries of reality no longer quite apply.
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.
Infernalis
Infernalis takes place in a house of portraits that does not exist on any map.
Along its corridors, a quiet procession of faces waits in the half-light: strangers who feel alarmingly familiar, as if they have stepped out of an unfinished memory. Each painting shows a single figure, standing or seated, with bleach-white skin and crimson lips, dressed in garments that belong to no fixed time. They are neither saints nor villains, only people caught in a moment of being seen.