ARTWORKS

Lucien visual storyboard 2
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Tokyo, JPN

Lucien is a fictional figure inhabiting a utopian realm reminiscent of those envisioned by Adolfo Natalini, a world that floats above the cities, detached from the density of the inhabited earth.
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Paris, FR

Garments as extensions of the body and identity. Costume dissolves into the wearer merging fashion, theater, and film. Volumes redefine the human outline as narrative form.

Countryside
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Paris, FR

Garments as extensions of the body and identity. Costume dissolves into the wearer merging fashion, theater, and film. Volumes redefine the human outline as narrative form.

Paris, FR

Garments as extensions of the body and identity. Costume dissolves into the wearer merging fashion, theater, and film. Volumes redefine the human outline as narrative form.

Tokyo, JPN

Garments as extensions of the body and identity. Costume dissolves into the wearer merging fashion, theater, and film. Volumes redefine the human outline as narrative form.

Paris, FR

Garments as extensions of the body and identity. Costume dissolves into the wearer merging fashion, theater, and film. Volumes redefine the human outline as narrative form.

Lucien Visual Storyboard 1
‍
Tokyo, JPN

Lucien is a fictional figure inhabiting a utopian realm reminiscent of those envisioned by Adolfo Natalini — a world that floats above the cities, detached from the density of the inhabited earth.

¥$, North West, Chicago West, Yuno Miles - BOMB
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Tokyo, JPN

YZY Music video

The emergence of latent diffusion models (LDMs) can be understood as a form of New Impressionism, in which the perceptual field is no longer constructed through direct observation of physical reality but through the probabilistic reconstruction of latent space.

In the late nineteenth century artists abandoned the rigid academic conventions of representation in favor of capturing the ephemeral qualities of light and atmosphere, diffusion-based AI generate images by iteratively “diffusing” and re-synthesizing fragments of visual information drawn from distributed datasets. This process, which several MIT research papers have described as a “stochastic reconstruction of latent manifolds,” replaces the singular viewpoint of the artist with a distributed computational gaze. The digital image is no longer the direct transcription of an external reality, but the outcome of a probabilistic and synthetic interpretation of it, a latent impression.

Critically, this does not imply a withdrawal of the human from the creative act, on the contrary, AI becomes a tool through which the artist and designer attempts to capture the underlying principles of reality, that which remains consistent beneath its surface variations.

A substantial part of the work thus lies in understanding how the real expresses itself once it has been compressed into a latent representation and subsequently re-synthesised as an image. The human task is to recognise how reality transforms when filtered through a digital manifold, and to guide the generative process so that the resulting image does not simply reproduce visual data, but reveals the structure of reality in a new form.In this sense, the move from physical observation to latent reconstruction requires a new form of authorship — one that is less concerned with depiction and more with the curation and activation of latent information.Latent diffusion therefore constitutes a new aesthetic paradigm in which form emerges through the accumulation of micro-variations and the gradual clarification of noise, much like the optical vibration of Impressionist brushwork — with the crucial difference that the vibration is no longer produced by the eye–hand coordination of the painter, but by a dialogue between human intentionality and computational inference.