I’m a Visual Artist exploring the field of Synthetic Media based on curiosity, serendipity and playfulness.
Upcoming
-> Ultramateria Festival, Hohenems (AT), 2025 (Group), with Support from “Schweizer Botschaft Wien”
Exhibitions & recognitions
-> The AI Art Magazine Vernissage & Showcase, Art-Verse Gallery Paris (F), 2025 (Group)
-> Museum für Gestaltung Zürich (CH), 2025 (Group)
-> IPFO International Photo Festival Olten (CH), 2025 (Group)
-> Designforum Wien (AT), “AND, OR, or NOT” Exhibition, 2025 (Group)
-> CVPR AI Art Gallery, Nashville (USA), 2025 (Group)
-> Cluster London (UK), Photography + Print Fair, Spring 25, 2025
-> “New Realities. Fashion Fakes, KI Fabriken”, Museum für Kommunikation Frankfurt (D), 2025 (Group)
-> 03-04/25 The Consulate General of Switzerland & the Heidiseum Foundation, Exhibition Pier 17 in San Francisco (US) (Group)
-> Photo Schweiz 25, Zurich 2025 (Group)
-> Singularity is here / Experiment 5 “AI at work”, Zurich 2025
-> Filmtech Exhibition, European Film Awards Lucerne 2024
-> Digital Arts Zurich Conference 2023, 2024
-> Pop-Up Film Screenings, “Beyond Human?” Symposium, University of Southern California, Los Angeles 2024
-> CVPR AI Art Gallery, The IEEE/CVF Conference on Computer Vision and Pattern Recognition, Seattle, 2024
-> AI Art, GoSee Awards, Berlin, 2023 & 2024
-> Photo Schweiz 24, Zurich 2024
-> Welcoming Sentient AI (Group), Exhibition and public discourse, Zurich 2023
-> ZHdK Diploma Exhibition (Group), Zurich 2022
From everyday encounters with colour, abstract flags emerged through generative processes. Realised as monumental textile formats (2 × 10 m and 1 × 5 m), they leave their digital origins behind and become a bodily presence within the industrial factory hall of Collini Hohenems.
The installation transforms the endless stream of AI imagery into a physically bounded, focused form of perception. Each flag enforces a slowing down: from quick scrolling and swiping to deliberate looking and sensing.
Visitors move between the vertical colour fields as if on a walk – following tones, shades, transitions. In this way, a space arises where technology does not dominate but creates resonance.
“Color Walk Flags” distils digital abundance into visual poetry – a quiet, physical extension of the Ultramateria.
Ultramateria, 27.11. – 30.11.2025, Hohenems (AT)
Tickets: https://kupfticket.com/events/ultramateria
with Support from “Schweizer Botschaft Wien”
The work consists of three parts.
1. Image Matrix:
Two original images of the classics were systematically visually remixed in varying proportions. This methodical approach explores how AI systems capture and recombine formal elements of design classics. The matrix-style presentation visualises the transitions and transformations between the iconic original works.
2. Image Flood Wall:
LLMs served as conceptual sparring partners in the analysis of design classics. Under the guidance of human creative direction they developed and optimised prompts for new designs and concepts. With the help of various image AI models, this resulted in a multitude of new visual interpretations that demonstrate the creative potential, but also the limitations, of AI technology.
3. Video:
Unexpected errors and misunderstandings by the AI when combining the Rex peeler with Sophie Taeuber-Arp's marionette "King Stag" were the starting point for another aesthetic experiment. Through the use of video AI, these apparent flaws were transformed into moving images of Dadaist poetry.
(till February 2026)
HYPERSIMULACRUM poses questions about perception, the meaning of authenticity – and the role of design in the age of simulation. The work is not a critique from the outside, but a questioning from within: What remains of the image when the feeling is more real than reality itself?
Images Exhibition: Lennart Fritze (@el.licht)
_Zurich City Posters
I’m more and more interested in bringing generative results back into the real world.
Each image stages high-fashion models in trendy designs, set against the harsh realities of the industry: atop mountains of textile waste in Chile’s Atacama Desert, amid the polluted waters near Bangladeshi textile factories, inside Vietnamese sweatshops, or among pesticide-laden cotton fields in Uzbekistan.
Intentional glitch elements weave through the images—not merely as an aesthetic choice, but as a symbol of the mental «distorsion» that allows us to ignore the contradictions in our consumer behavior. This visual disruption becomes a metaphor for the fractured relationship between fashion-driven desire and ecological responsibility. The stark contrast between the polished aesthetic of the models and the environmental devastation beneath them lays bare an uncomfortable truth: the social and ecological costs of fashion.
Instead of producing deceptively realistic images, I develop an independent visual language that exists in the in-between space of established media.
The intentional deconstruction and recombination of visual elements addresses the central question of the exhibition: How can creative uses of AI redefine collaboration between human and machine? In my pieces, this becomes visible through fragmented silhouettes, abstracted textures, and transformed proportions, all of which leave space for individual interpretation.
Rather than showcasing technology, the focus lies on the tension between digital structure and painterly expression. The result is a body of work that resists generic AI aesthetics and instead moves toward something slower, more deliberate — closer to painting than to media art.
This project is a homage to my first generated images from 2021 and 2022, which had a painterly feel.
Contact me if you are interested in a print.
Connected by a gradient aesthetic and separated by a moment of darkness, these three poems operate in the liminal space between human creativity and algorithmic structures. The work embraces serendipity—those unexpected moments where computational processes reveal something unforeseen and beautiful.
This work represents my ongoing investigation into how algorithms reshape our understanding of aesthetics and meaning, and how technology can be harnessed not to replace human creativity but to expand its vocabulary.
03/2025–01/2026
_Selection Photo Schweiz 2025
(Ongoing Series)
The process is a true human-machine collaboration; a dialogue between analog media, digital imaging and visual remixing with Gen AI.
_Presented at Digital Arts Zurich Conference
_Selection, Pop-Up Film Screenings during the “Beyond the Human?” Symposium on AI and the Arts at the USC University of Southern California, September, 16 2024, Curated by Holly Willis, USC Professor of Cinematic Arts
_Videoinstallation, Filmtech Exhibition, European Film Awards Lucerne 2024
_Singularity is here, Experiment 5 “AI at work”, Kraftwerk Zurich 2025
_Part of the official AI art gallery selection of the Computer Vision and Pattern Recognition Conference CVPR 2025 in Nashville (USA)
_Selection, Pop-Up Film Screenings during the “Beyond the Human?” Symposium on AI and the Arts at the USC University of Southern California, September, 16 2024, Curated by Holly Willis, USC Professor of Cinematic Arts
Many creative professionals see this as a major drawback, as it often means that AI tools cannot really be integrated into everyday work in an efficient and predictable way. But it is precisely this lack of predictability that offers opportunities. Serendipity, "finding something you weren't originally looking for", requires openness, awareness and a certain delight in chance. It can open up new possibilities, give us new ideas or take us out of our daily routine for a moment.
This is the aim of _new_ materialism. The series aims not only to show new (fictional) materialities with the help of AI, but also to break down fears of technology and encourage people to go on a visual voyage of discovery with artificial intelligence themselves.
_Part of the official AI art gallery selection of the Computer Vision and Pattern Recognition Conference CVPR 2024 in Seattle
(Ongoing Series)
“Perspektiven”
I was invited to contribute a series of 60 synthetic media artworks to the time capsule. These combine the essential characteristics of Santiago Calatrava’s design with the diverse perspectives of the city and its inhabitants.
The generative process of creation results in ever-changing patterns that combine complexity and fluidity. Each image is more than a snapshot; it is a window to countless possible future realities of the “Haus zum Falken” and thus to the entire development of the city of Zurich.
(Axelsson, C. HG. (i.E.) Tender Digitality. Karlsruhe: Slanted)
In 2023 I explored various playforms of “Tender Digitality” with the help of Generative AI. The results of the visual design research and my reflection on this newly emerged “Synthetic Tenderness” can be found in this publication by the amazing Charlotte Axelsson and slanted.
slanted Publishers
“The tenderness of digitality often doesn’t manifest in the end result, at least not primarily. Instead, it is the collaborative process of creation with algorithmic systems, the dialogue with machines, that offers the real space for emotional resonance.”
(Ongoing Series)
It also reflects a deeper philosophical concept: the idea that nothing in this world is truly concrete or fixed. Everything is subject to change and transformation. In this sense, this work is a reflection on the impermanence and fluidity of life itself.
_Poster w/ ZHdK Design, Trends & Identity, Dagna Salwa, David Jäggi
Two images of the series were choses by the Alumni Organisation of the Zurich University of the Arts (ZHdK), Netzhdk, for their yearly graduation card and art poster design.
This piece marks the beginning of my AI journey and the start of my personal AI minimalisms, which explores the abstract art movement in the age of AI.