My work moves between vitreous abstraction, speculative documentary photography, narrative world-building and moving image.
I use generative AI as a medium – and often as a kind of camera – for subjects that exist only where imagination meets the latent space.
Selected works are available through the platforms linked throughout this page.
I welcome questions about particular works, availability or acquisition.
terra fracta grew from my desire to push vitreous fractalism beyond polished glass abstraction into a visual language that better reflects a world whose underlying systems feel broken.
The images in this gallery are still frames from an early work created through this evolving process: my self-portrait.
I chose my own image as the first subject because it felt like the most honest material to risk destroying.
The portrait needed to remain recognizably mine while being allowed to fracture, misremember and reconstruct its identity. The work asks how much of a person can be broken apart before recognition finally gives way.
Each work begins with a source image and three related generative passes using LoRA models trained on my own artwork. These progressively translate the subject into states of rupture, collapse and eruption while preserving its underlying pose and composition.
Those states then enter Container Ecology, an original media-native fracture and scoring system developed with an AI agent.
Rather than placing a simulated glitch over the image, the process breaks the artwork within its own files. Sonified image data directs false PNG reconstruction; JPEG entropy is corrupted; incompatible states collide across interlacing passes; and predictive video frames inherit the wrong past.
The same damaged material produces the sound. Image bytes become audible voices, while records of the failures control their interruptions, dynamics and movement through space. There is no separate soundtrack added afterward.
Animated-container rules determine which damaged fragments persist, disappear or return. There is no clean portrait composited beneath them: each failure becomes material and memory for whatever follows.
The faults are now recomputed at the selected output resolution rather than enlarged after the damage is complete. Once the fracture and score have resolved, a restrained color finish recovers some of the brightness and chromatic intensity lost through the process without concealing its effects.
The gallery captures moments from one seamless moving work as the face passes between recognition and dissolution. The unfinished lossless master is preserved alongside the source, settings, seeds and creation history as a record of how the work came into being.
Most importantly, the work marks the moment when the glass finally broke: and the process began to feel native to terra fracta.
My vulva vitrea collection grew out of more than two years spent developing vitreous fractalism, my evolving visual language of prismatic, floral and algorithmic abstraction. It is the most cohesive and conceptually rigorous body of work 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.
The result, examples of which you can see above, was vulva vitrea.
This collection features a series of vitreous, floral, algorithmic interpretations of eroticism, completely detached from the traditional imagery of the human body.
The minted artworks can be found at Transient Labs.
During a period of heightened chaos in late 2024 and early 2025, I began exploring the hyperchaotic interplay between structure and entropy within the latent space.
The resulting body of work, magia chaotica, explores the unpredictable yet mesmerizing nature of algorithmic generation 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 grew from a refined version of my pseudo-algorithmic prompting method, 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.
The magia chaotica prompt is an algorithmic incantation composed by ChatGPT in Latin to unlock the power of chaos magick within the latent space.
By structuring these prompts as linguistic algorithms, I aimed to channel the unpredictable forces that dwell within AI’s generative potential, summoning emergent patterns that dance on the edge of order and entropy.
I documented my progress onchain by minting experimental raw WIP images from the series on Rodeo.
My vitreum femininum collection features early works in vitreous fractalism. It grew from experiments testing the point at which viewers stop seeing flowers in glass-like abstract cubist forms and begin seeing only blocks of glass: an exploration that began with flores obscuri, featured below and preserved on OpenSea.
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 images styled as high-fashion photography.
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.
This collection encapsulates ‘the glass feminine’, broadly inviting viewers to connect with the essence of femininity, refracted through a glass-like lens of high fashion and artistic abstraction.
I worked on vitreum femininum for several months, as I gradually found a more sustainable pace of creation that enabled me to craft what then felt like my most cohesive and unique body of work yet.
I documented my progress onchain by minting experimental raw WIP images from the most advanced iterations on Rodeo.
Three distinct series experimenting with glass floral motifs informed the initial development of vitreous fractalism: fragilis vita, flores ephemeri and flores obscuri.
They are among the first artworks that I created through the pseudo-algorithmic prompting method. This process, while not strictly algorithmic, draws upon the unique patterns and proclivities inherent to machine learning, yielding results that are as unpredictable as they are enchanting.
The artworks of my fragilis vita, flores ephemeri and flores obscuri series conjure memories of a latent space wherein the ethereal glass sculptures of Dale Chihuly are reborn. For me, as the artist who created these worlds, they are more than mere interpretation.
They are a walk down memory lane, reconnecting me to a fleeting moment in my youth when I spent a few minutes helping Chihuly paint sketches: an experience that left a permanent mark on my life.
inter splendorem et umbra, fragilis vita revelat arcanum tenuitatis et essentiae
My fragilis vita series, made up of alternating light and dark aspects, was my first sustained attempt to build a glass-floral world through pseudo-algorithmic prompting.
I treated text like a procedural recipe and let the model’s biases and ‘misreadings’ become part of the aesthetic.
The work centers on delicacy: soft luminous forms, thin vitreous membranes, and a sense that the subject could shatter – or vanish – at any moment.
It’s where I began translating a formative, fleeting memory of glass artistry into something native to the latent space.
sub luce fugaci, flores ephemeri vitae fragilitatem et pulchritudinis momentum efflorescunt
My flores ephemeri series pushed the glass-floral language toward a more naturalistic vernacular: less object-study, more field, the glass-like blooms appearing as if they belong to a living ecology.
The series is about transience and timing: moments of beauty that feel discovered rather than designed, as if the scene exists for a breath and then dissolves.
Compared to fragilis vita, the world expands inward – less atmosphere, less growth, less diversity – while still anchored in the ritual of pseudo-algorithmic prompting.
in umbrae mysterio, flores obscuri efflorescunt, vitam ut numquam ante visam revelantes
My flores obscuri series was where the glass-floral motif crossed into abstraction: setting the scene for everything that followed.
I sought to test the plausibility curve of when a viewer stops seeing “flower” and starts seeing structure: cubist fragments, prismatic planes, and shadow-sculpted silhouettes that only resolve into flora at the edge of perception.
This series was an unconscious step toward the visual logic that would later become vitreous fractalism: light as architecture, opacity as narrative, and form as a negotiation between recognition and rupture.
I documented these artistic experiments onchain from late 2023 to early 2024 on the ZeroOne platform. You can view each series in full and make offers on OpenSea.
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.
Cerberus Chronicles: Bidder's Edition
For true sci-fi aficionados, the Cerberus Chronicles: Bidder's Edition poster is an homage to an epic movie poster for the original Star Wars trilogy.
An exclusive reward for all bidders on any of the three artworks in the Cerberus Chronicles trilogy, this is a must-have for any die-hard cinema fan.
Get immersed, get inspired and embark on this unforgettable cosmic journey!
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.
Despite the burnout, the project remains meaningful.
Helping artists I deeply respect reconnect with work they still considered among their best was, in itself, a quiet success.
The gallery above shows my artworks that are listed in the inaugural group exhibit on Foundation.
While Foundation is now offline, you can see my artworks from the exhibition at Networked.art.
To this day, uncanny aliens – my genesis collection of 29 1/1s on Foundation, now preserved on Networked.art – remains among the work I’m proudest of.
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.
I reconnected with my creativity through AI art while working on this collection.
Three years after minting it, I remain fascinated with my uncanny aliens.
Each time I look at these portraits, I feel a lingering desire to learn more about the unusual subjects pictured in them.
my homage to women's bodily autonomy in a country where guns have more rights
a raw remix of my homage to women's bodily autonomy in a country where guns have more rights
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 overzealous 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.
I minted Lord of the Kale on objkt in August 2023 as a cross-chain NFT graphic novel.
I created it as an intentionally unserious experiment: a way to sharpen Photoshop skills, explore long-form AI-assisted storytelling, and embrace parody as a legitimate creative tool.
Beneath the jokes, it stands as a lighthearted manifesto against monoculture: culinary, cultural, or otherwise.
© 2026 eirrann.art