I begin with drawings and mixed-media works made by hand: stains, fragments, leaves, diagrams, colour fields, and asemic marks. These images already contain rhythms and relations, but they do not arrive as a readable system.
I then submit each work to an AI-assisted transformation process. The machine is not asked to decorate, improve, or imitate the image. It is asked to treat the original as evidence of a latent visual language and to reorganize its marks through repetition, mutation, spacing, clustering, interruption, and failed alignment.
The transformed image becomes a second state: an artificial syntax derived from human gesture.
From this syntax, I extract a structural invariant—a relation that appears to govern the image. The invariant is then translated into a concise law, a speculative formula, and a minimal diagram. These forms are assembled into an Extracted Law Plate.
The work moves through three states:
Human Gesture → Artificial Syntax → Extracted Law
The process does not ask what the original image symbolizes. It asks what structural truth the image becomes capable of stating after translation.
THE IMAGE LEARNS TO READ ITSELF
A series in which human-made images are translated into artificial syntax, then distilled into verbal laws, speculative formulas, and visual diagrams.
RPS PHOENIX
Game where strategy meets mythology.
RPS Phoenix transforms the familiar triad — Rock, Paper, Scissors — into a spatial system of intention, movement, and controlled unpredictability.
The board becomes a field where diagonals signal strategy, dice introduce contingency, and every defeat carries the possibility of return.
RPS Phoenix rethinks games as metaphors. It tests how myth can become a playable logic and treats play as a method for examining:
decision-making under uncertainty,
cycles of loss and renewal,
the tension between control and chaos.
Breaking, rising, transforming — these are not themes; they are the rules.
CONCEPT
DESIGN PHILOSOPHY