The Progress explores the blurred boundaries between photography and painting, reimagined through the lens of artificial intelligence. Revisiting baroque aesthetics, these images evoke a youth marked by post-Covid fragility, navigating a world where the promises of progress remain unfulfilled. By merging past and speculative futures, the series stages an existential metamorphosis: a youth in flux, suspended between heritage and mutation. The imperfections born from AI’s generative process reflect a paradox—technology striving for perfection but revealing instead its limits. This becomes a poetic meditation on image authenticity in an era of synthetic beauty. The title nods to Fragonard’s The Progress of Love, reinterpreted as The Progress of the Image: a body in transformation, a new generation where image and identity molt and regenerate. Art becomes a living organism—hybrid, aesthetic, and deeply technological.

Statumanoids depicts a generation caught between flesh and fiction, where youth takes form in hybrid beings—part statue, part humanoid. Their features evoke the undead, theatrical and fragile, echoing both classical sculpture and post-human ambiguity. The name itself, a fusion of “statue” and “humanoid,” signals this duality. Outfits blend baroque theatricality with urban streetwear, creating an anachronistic tension—between Commedia dell’arte and fashion editorial, melancholy and burlesque. These visual tableaux reference academic poses while twisting them into something unsettlingly contemporary. Each figure becomes a study in identity metamorphosis: frozen, unstable, always in flux. Through generative tools, forms are reconfigured—bodies become improvisations, merging mineral, organic, and digital textures. In this alchemy of contrasts, the work interrogates what it means to be human when even our skin becomes simulation.

Chimérium explores the tension between nature and fabrication through generative objects at the crossroads of sculpture and design. These forms oscillate between organic growth and industrial artifact—wax, fabric, coral, metal—blending botanical echoes with artificial aesthetics. Reminiscent of still lifes and cabinets of curiosities, each image stages a fragile hybridity: textures evoke both craft and mutation, while the compositions suggest evolution more than construction. The result is a digital chimera—half-grown, half-made—questioning the very nature of objecthood. By merging natural patterns with synthetic logic, Chimérium invites us to rethink how forms emerge, evolve, and hybridize in an age of generative design. Where does material end and imagination begin ?

Immersive Forest reimagines the landscape through the lens of artificial vision, drawing from the romantic tradition where nature is both sublime and unruly. Blending digital techniques with painterly heritage, the series interrogates how generative art reshapes our perception of the natural world. Bathed in mist and mystery, the vegetation evokes a phantasmagoric realm—a forest as myth, not memory. The chimerical forms conjured by AI pull us into a space where authenticity and illusion blur, inviting contemplation on the digital sublime. More than a tribute to romantic landscape, Immersive Forest reinterprets it—offering a vision of nature that is as much constructed as it is imagined.