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My vulva vitrea collection is the culmination of more than two years of artistic exploration evolving vitreous fractalism, my abstract glass floral algorithmic AI visual vernacular. 

I feel that it is the most cohesive and conceptually rigorous body of work that I have created to date.

In mid-2023, I had an idea: strip away the familiar corporeal elements of erotica and use AI to reconstruct it as something purely abstract. The initial attempts were a disaster: atrocities, even. So, I set the idea aside. 

Then, as I was exploring magia chaotica (featured below) in late 2024 and early 2025, I noticed an explosion of nude photography on art platforms.  

It was a moment of realization. 

Many of these images weren’t about artistic merit: they were about titillation. 

That realization made me revisit my old concept.

With a refined Flux LoRA composition, I finally had the tools to execute the idea properly.

I used a composition of five custom Flux LoRA models trained on more than a year of artistic experimentation – coupled with an AI-generated, Latin-based algorithmic text prompt describing the vulva in graphic, poetic detail – allowing the AI to interpret and reconstruct it as a purely abstract form, aligned with my vision.

As we entered an era of heightened chaos in late 2024 and early 2025, I began exploring the hyperchaotic interplay between structure and entropy within the latent space. 

These new artworks, magia chaotica, represented an artistic journey into the unpredictable yet mesmerizing nature of algorithmic generation, captured through the lens of vitreous fractalism. 

In this new phase of my artistic practice, I sought to unravel the intricate tension where fractal dissonance meets recursive asymmetry, evoking a sense of dynamic instability that aims to both challenge and captivate.

My magia chaotica experiments were the result of a refined methodology for my pseudo-algorithmic prompting approach, guided visually with a composition of five custom LoRA models trained on my past year of artistic exploration. 

These models serve as the foundation for generating intricate compositions that blur the line between calculated precision and organic fluidity, offering glimpses into a world where algorithms breathe life into fractured dreams.

Each prompt in magia chaotica is more than just a sequence of words: it is an invocation. 

My vitreum femininum collection features early vitreous fractalism works. They began with an experimental series of artwork testing the plausibility curve of when people stop seeing flowers in a glass abstract cubist style and just start seeing blocks of glass: flores obscuri on ZeroOne, which you can also find featured below.

From early on in my experiments, my goal with vitreum femininum was to create art that looked nothing quite like I'd ever seen before. 

I hoped that anyone who connects with femininity can see themselves in the art, and like what they see.

The sartoria graphica series (‘graphical tailoring’) evokes photos on which a designer has drawn over the clothing and foreground for inspiration.

The illustratio prismatica series (‘prismatic illustrations’) represents illustrated abstract fashion prints.

The speculare modum series (‘fashion of observation’) features photorealistic high fashion photography style images.

The silhouetta lucida series (‘illuminated silhouette’) is the culmination of vitreum femininum: an audacious reimagining of femininity and fashion in the purest form of vitreous fractalism.

Cerberus Chronicles is a narrative spanning destruction, redemption and ultimate salvation. 

 Originally intended as a trilogy, I later added a fourth artwork: a prequel as part of an expanded universe concept. 

Dawn of Cerberus

Set in an alternate mid-1970s, Dawn of Cerberus captures the moment before catastrophe. 

Inside a covert laboratory, Cold War scientists unveil Cerberus: a weapon envisioned as the ultimate deterrent, capable of enforcing global peace. 

The Unraveling

The Unraveling depicts the immediate aftermath of Cerberus’ activation in 1986. The weapon does not end war: it annihilates Earth. 

From a lunar colony, survivors witness the planet’s violent disintegration. Untethered from Earth’s gravity, the Moon becomes humanity’s last refuge, drifting into deep space.

Manifest Destiny

Set a millennium after Earth’s destruction, Manifest Destiny envisions humanity reborn. 

Descendants of the lunar survivors have built a unified, interstellar civilization anchored by a vast orbital capital. Megastructures, spaceports, and exploration vessels signal not conquest, but continuity. 

Interrogation Interrupted (Prequel)

In Interrogation Interrupted, we witness the moment that the premature test detonation of the Cerberus device begins to superheat the KGB interrogation chamber where investigative journalist Alexei Rostov, defiant in his refusal to name his sources, is being shoved forcefully back into the inquisitor's chair. 

It reframes the Cerberus saga through a single, fatal instant. Rostov had uncovered the Cerberus project and forced it briefly into the light, only to be detained by the state he sought to expose.

The (un)curated collective emerged from a familiar frustration in the art world: artists pour their best work into open calls and competitions where the odds of selection are vanishingly small. 

For every piece that makes it into an exhibition, hundreds – often just as strong – are quietly discarded. 

Over time, that imbalance becomes not just discouraging, but corrosive.

By late 2023, I found myself asking what should happen to the work that wasn’t chosen. 

Rather than letting those pieces disappear, I founded (un)curated, an artist collective designed to reclaim and recontextualize “unsuccessful” submissions. 

The premise was simple but pointed: if traditional curation filters out most work by necessity, not quality, then those filters deserve to be questioned.

(un)curated invited artists to resurrect, repurpose and relist works that had been passed over: framing them not as rejections, but as artifacts of a broken selection process. It was less an online gallery than a statement: a refusal to accept invisibility as a verdict on artistic value.

Sadly, the collective ultimately fell victim to the realities of the web3 art ecosystem. Beyond our first onchain group exhibition, the remaining showcases – developed over months of group effort – vanished when the hosting platform shut down.

To this day, some of the work I’m the most proud of is uncanny aliens, my genesis collection of 28 1/1s on Foundation. 

It draws deeply on my background in photography, when I used a fully manual camera and lived in the darkroom.

My uncanny aliens collection features photography-inspired AI portraits with a familiar vernacular to evoke a powerful connection with the alien subjects.

I created it in February 2023, only about a month after joining Twitter and installing Stable Diffusion. 

I had seen a photorealistic AI image that Claire Silver shared back in January 2023 and felt compelled to learn how she did it. 

To me, this serves as a testament to the power of AI tools to spark creativity even in people like me who had not made art in decades, after a long hiatus due to military service and corporate life. 

The first artwork in the slideshow above is Gutenberg's AI Scriptorium. It was curated as part of Strange History on Foundation, a World unearthed from the depths of the historical record and curated to interpret history through the lens of each artist’s imagination.

In it, I explored an alternate timeline where Johannes Gutenberg's revolutionary invention transcends mere text replication. 

This work of AI-generated documentary photography captured a glimpse of a more enlightened transition within Gutenberg's lifetime from the Late Middle Ages to the Early Modern period, after his development of the printing press took a radical turn. 

Lord of the Kale is a six-part, kale-derogatory epic AI graphic novel that playfully weaponizes fantasy tropes to stage a rebellion against culinary monotony. 

Conceived as a tongue-in-cheek parody of The Lord of the Rings, the project unfolds as a serialized visual saga in which an over-zealous leafy green has metastasized into an all-encompassing empire, binding an entire world to sameness under the guise of virtue.

The story follows a reluctant hero – the “chosen eater” – who awakens to the absurdity of a culture where everything tastes the same.

From bustling markets saturated with kale to the ominous rise of the Dark Lord Kaleron and his sentient salad legions, the narrative escalates from quiet dissent to full mythic confrontation. 

Along the way, a party assembles not from warriors and wizards, but from chefs, butchers and makers: guardians of flavor united by a shared refusal to accept leafy tyranny.

Each chapter advances the quest toward Mount Kale, where the symbolic destruction of the kale ring restores balance: not by erasing greens entirely, but by re-opening space for diversity, choice and pleasure.