Ultramono Dreamwave & RezSelf
After a year in development, a new chapter in the Ultramono saga begins.
Ultramono Dreamwave is a retrowave memory engine — a magnetic archive, a laserdisc soul garden, an emergent collection of crystal-radio formations. It drifts between frequencies, revealing glimpses of forgotten utopias.
Techno assemblies — interlinked, suspended, partially exposed. Wired silence in sunset lag. Nothing is whole. Nothing is final. Tendrils of wire twist with surgical precision into post-human beings.
Ultramono Dreamwave is an exploration of the digital ether — one multi-dimensional sculpture at a time.
Within this fleeting world emerges RezSelf, a series of abstract digital compositions exploring the poetics of presence in a constantly shifting infosphere. Each piece is a Residual Self — a spectral imprint within an endless loop of perception, computation, and decay.
Formed through glitched erosions, AI-aided generation, and 3D compositing, each image reveals fluid entities in states of becoming. Not fully human, not fully artificial — these are image-constructs suspended between metadata and myth, echoing the latency of early web culture and the collective subconscious of the digital age.
More soon.
holiday greetings!
Holiday greetings!
Here’s to many more hybrids in 2025!
Thank you for your support!
SynthPets (Ultramono Lab) is a poetic exploration of robotics and artificial intelligence within a virtual reality landscape, continuing my deep dive into our entanglement with electronic pets and devices that shape our lives.
My recent projects, RoboSense and SynthPets, explore humanity’s evolving relationship with automation, AI, and the possibilities of a transhumanist future. These works bring synthetic digital creatures and hybrid beings to life, navigating poetic virtual environments and blurring the lines where humans and machines merge into new forms of existence.
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RoboSense/SynthPets
Hello hello Internet!
As 2024 wraps up, I’m thrilled to share that my latest Ultramono Lab: AvantGarden works are currently on display in two exciting exhibitions: EMERGE 2024: Ethics of AI Alignment, organized by the Institute for Philosophy and Social Theory at Forum and Neon Gallery, and ON ARCHITECTURE 2024: Shaping the City through Architecture, which explores innovative perspectives on urban design. I’m also celebrating a fantastic milestone: my digital audiovisual works have garnered an incredible 40K new views on YouTube. It's inspiring to see these pieces resonate with a wider audience.
As someone who has long embraced the internet as a platform to present virtual worlds, soundscapes, and the concept of an endless work of art, each space—whether physical or digital—offers a unique way to create immersive and empowering experiences. From guided or unguided tours of virtual realms to embedded audio-visual compositions, my aim is always to spark a journey through contemplation, excitement, and pure joy.
These neo-surreal computer art assemblages embody the influences that drive me: internet subcultures, mythology, our evolving relationship with technology, and a sense of playful exploration. More than a garden, the Avant-Garden is a space for rethinking, deep listening, reflection—and even dancing. Emerging from the cloud of mythology, these works invite audiences into mythical places and arcadian gardens where sci-fi (proto) machines, ultra-human and ultra-natural synthetic fractals, and a sense of endlessness and playfulness converge.
Floating in semi-abstract digital ecosystems are thought-forms: beings that merge the robotic with the organic, imagined as companions and building blocks of synthetic life. These installations, created within the Ultramono Lab, serve as exploratory playgrounds. They invite freedom of interpretation, often leading to profound feedback from audiences who connect deeply with the digital sculptures, ambient techno soundscapes, and interactive ecosystems.
It’s always humbling to hear how these works inspire others to think, feel, and imagine anew. Thank you for being part of this journey.
