It’s just a question of what you can imagine
A collection of visual experiments across image and motion — from the beautiful grotesque and dystopian corporate futures to more mundane beauty, fashion and editorial concepts.
This is where a lot of my broader AI explorations live: single images, character studies, small series, visual concepts and the occasional moving sequence. Some of it started with a clear idea, some of it with pure curiosity, and some of it simply because I wanted to see how far a certain aesthetic or tool could be pushed.
90% of my experimentation is really about one question: what kind of emotional response do I want to evoke in the viewer?
Beautiful, uncomfortable, funny, uncanny, desirable, disgusting, nostalgic — the actual tool comes second.
This approach does not change wether I explore visual concepts for myself or if I am task to create visuals for a fashion, an automotive or a sports brand.
For me, prompting is not ordering an image from a machine. It’s directing, curating and reacting to material until something interesting starts to happen. A constant back-and-forth with the machine, and exactly how I like to work with generative AI.
And yes, sometimes getting that final image takes five generations. Sometimes fifty. Sometimes it turns into an entirely different idea along the way.
It is always about response.
Making the thing before making the thing.
Pre-visualisation is probably my biggest use case for generative AI.
I like being able to show a client, talent or production partner what to expect before production even starts — not just through references, but with something that already feels much closer to the final idea. A key visual can exist before the shoot. A film treatment can have actual frames. A character, location or setup can be explored before anyone steps on set.
It makes conversations easier, expectations clearer and often helps get everyone excited about the same version of the idea before real money starts moving.
And then there’s all the weird s***.
Outside of pre-vis and client work, I use generative AI for pretty much whatever catches my attention that week: strange character studies, grotesque beauty, fake campaigns, dystopian corporations, impossible architecture, fantasy worlds, visual jokes and ideas that probably have no business becoming anything more than an image.
