Unstable portrait of the node network.
Now showing.
Grand Palais Immersif / Articial Dreams 2.
11 June 2025 to 16 July 2025
Paris
Aseries of works exploring classical beauty undone by the unconscious hand of AI.
Subtle distortions stretch and soften familiar faces, creating fragile anomalies suspended between the human and the machine.
Rather than presenting beauty as a fixed ideal, the project renders it unstable — a residue, a ripple, a system error.
Each image is born not from a canvas, but from a modular neural pipeline: a visual programming environment where images are generated through a branching sequence of interconnected components — called nodes. These node networks, commonly used in AI image generation, function like digital organisms: each configuration mutates the outcome, and each wire connecting one node to another represents a choice, a logic, a potential breakdown.
In Quantum Facelift, the pipeline itself is reimagined as an artistic medium. The works are not simply created by AI — they are constructed inside a living interface, a constantly reconfiguring machine diagram that performs its own kind of abstract composition.
Each reorganization of the node network produces a new work, but also a new aesthetic architecture: a visual map of how ideas move, distort, and reassemble in the latent space of the machine.
The series includes works such as:
Beast Jesus (Reconstruction Node) — where devotional imagery collapses under the weight of its own digital restoration, leaving behind a melted devotional glitch.
Oil Portrait vs. Clown Logic — a classical sitter defaced by contemporary absurdist cartooning, merging reverence with vandalism.
Twilight Miscoloration — black-and-white TV icons reinterpreted in color, twisted into uncanny makeup and facial distortions by machine inference.
Hepburn Hijack — a 1950s starlet overtaken by alien voice synthesis, her image flickering under the weight of AI hallucination and mind control motifs.
Da Vinci Relit by the Devil’s Goat — a tender renaissance portrait haunted by a satanic tattoo emblem, where shadow, beauty, and absurd horror mingle.
Makeup Engine #27 — a baroque studio portrait algorithmically enhanced with excessive digital makeup, spiraling into parody.
Peeling the Oil Skin — a serene classical scene gradually stripped away, revealing a hollow void beneath painterly illusion.
Each work is framed within a generative structure that reveals the hidden scaffolding of machine thought. The node network becomes a kind of techno-mystical script: visual poetry made from systems design.
What does it mean to beautify in an era of neural hallucination?
And who — or what — is doing the beautifying?