(NSFW) (trans)Human (AI Gen)

Studies in Becoming and Erosion

Notice: Many images are NSFW but also Not Safe For the Easily Triggered

“A human being is a being who is constantly ‘under construction,’ but also, in a parallel fashion, always in a state of constant destruction.”
— José Saramago

Google’s Deep Dive Podcast: When the Human Refuses to Resolve — Identity, Memory, and Becoming in “(trans)Human”

A Viewer’s Orientation

Before entering this gallery, it is useful to unlearn a few habits.

These AI Generated images are not portraits in the traditional sense. They are neither demonstrations of technical virtuosity, nor speculative futures rendered for spectacle. They are artifacts of a process that treats the individual human figure as something unfinished, unstable, and continuously revised. What you encounter exists in the space between remembering and inventing, between making and undoing.

This body of work asks a simple but unsettling question: what happens when a machine is not asked to imagine a human, but to remember one it never was?

What These Images Are

Each image presents a solitary human figure in a state of becoming and erosion. Flesh and machine are not opposed here. They are entangled. Identity is neither intact nor destroyed, but partially erased and partially overexposed. Faces blur, fracture, duplicate. Bodies carry seams, stitches, scars, and visible repairs. These marks are intentional. They are evidence of labor, of failure, of care, of intervention.

Rather than presenting monsters or futuristic heroes, the figures remain intimate and psychologically charged. The disturbance is quiet. The unease comes not from violence, but from recognition. These are individuals whose boundaries no longer hold still.

The visual language moves deliberately between photorealistic detail and painterly decay. Sharp interruptions coexist with soft focus. Imperfections are cultivated rather than corrected. Ambiguity is not a flaw here; it is the medium.

Memory and Interior Inheritance

Memory in this work is internal rather than genealogical. The figures do not represent families, lineages, or relationships between people. Each image isolates a single subject, carrying their own accumulated impressions, fragments, and emotional residue.

Traces of memory may surface as distortions beneath the skin, light damage in the eyes, or misregistered features that suggest lived experience rather than biography. These are not literal recollections. They are psychological imprints: what remains after experience has been absorbed, forgotten, misremembered, or suppressed.

The work resists narrative clarity. The past does not appear as a story but as pressure.

Identity Under Pressure

Identity is not treated as a stable core but as a surface under strain. Symmetry is often incorrect. Two expressions may coexist on one face. Eyes may gaze toward different temporal moments. Gender can be ambiguous. Age is indeterminate. The edges of the body sometimes dissolve, as if the figure cannot fully agree with itself.

These disruptions are not glitches to be solved. They are the subject. The work resists clean categorization, reflecting how identity fractures under memory, culture, history, and self-perception.

You are not meant to decode a single answer about who these individuals are. You are meant to sit with the instability.

Craft, Making/Unmaking

A critical element of this work is its insistence on craft. Despite being generated through artificial systems, the images emphasize hand-made qualities: clay-like textures, waxy surfaces, fabric impressions, rough assembly. Bodies appear built, repaired, and then partially dismantled.

This is a rejection of polished, frictionless AI aesthetics. The presence of seams and exposed construction insists on humanity. It reminds us that making is always accompanied by error, revision, and vulnerability.

The figures are not finished products. They are in-progress objects, caught mid-decision.

Psychological Space

The atmosphere of these images is intentionally intrusive. Lighting often recalls interrogation rooms or confessionals. Backgrounds are minimal, abstract, or absent, denying narrative comfort. The color palette is muted and de-saturated, occasionally pierced by a single intrusive color that refuses to behave.

Many viewers report a subtle reversal of roles: the sensation of being observed rather than observing. This is not accidental. The work aims to collapse the distance between subject and viewer, creating a shared discomfort that is intimate rather than theatrical.

There is dread here, but it is quiet. Familiar. Hard to name.

How to See

This gallery is not meant to be consumed quickly. Each image functions as:

• one artifact, not content
• one question, not a statement
• one unfinished object

You are invited to linger. To let uncertainty persist. To notice which figures repel you, which attract you, and which feel uncomfortably close.

There is no required interpretation. Meaning is not embedded cleanly within the image; it forms in the space between the work and your own memory, identity, and sense of self.

A Final Note

(trans)Human is not a prediction of what humanity will become. It is an excavation of what humanity already is when isolated, examined, and left unresolved.

These images do not ask whether machines can become human or vice versa.

They ask what remains when the human is no longer whole but transcendent.