GALAXY

China

Where do you locate yourself in relation to the systems you work with?

[ x ] A position I occupy I locate myself in a position of critical proximity to the systems I work with. As an AIGC fashion artist, I do not approach artificial intelligence as a neutral instrument nor as an autonomous author, but as a cultural system shaped by data, algorithms, and inherited aesthetic biases. My practice exists within these systems while remaining attentive to how they structure visibility, repetition, and value. I position myself close enough to intervene in their generative logic—through prompt design, constraint setting, and iterative selection—yet distant enough to question their defaults and resist passive acceptance of their outputs. This distance allows me to work with fragmentation without losing continuity, treating AI-generated results as material rather than conclusions. Authorship in my work emerges through framing, curation, and critical judgment. I am less concerned with controlling every outcome than with designing the conditions under which meaning can appear. In this position, AI is neither collaborator nor tool alone, but a dynamic field that I navigate, shape, and redirect. I remain responsible for how fragments are assembled into coherent artistic and fashion-oriented statements, maintaining agency within systems that are inherently unstable and generative.

Where are you heading, and what is pulling you there?

[ y ] A vector I move along I am moving toward a practice that understands fashion and art not as finished products, but as ongoing processes shaped by transformation, iteration, and negotiation with intelligent systems. What pulls me in this direction is a growing urgency to rethink authorship, cultural continuity, and the role of the body within algorithmic environments. I am guided by forces of change rather than optimization. While many AI-driven practices move toward speed, efficiency, or visual saturation, I deliberately resist purely solution-oriented trajectories. Instead, I follow vectors of ambiguity, mutation, and slowness—allowing forms and meanings to evolve through repeated interaction with generative systems. This vector is shaped by questions rather than outcomes: How can cultural memory survive within computational processes? How can fashion remain sensitive to embodiment and identity when mediated by algorithms? These questions continually redirect my practice, pulling it away from fixed styles or stable signatures. I move forward by designing systems that can transform rather than reproduce, and by treating direction itself as flexible—open to deviation, recalibration, and shedding. My practice advances not through accumulation, but through continuous reconfiguration.

How would you describe the space your practice is currently unfolding in?

[ z ] A space in which my practice unfolds My practice currently unfolds in a hybrid, generative space formed by the interaction of artificial intelligence systems, visual culture, and embodied perception. This space is neither purely digital nor purely symbolic; it is an elastic field where images, forms, and narratives are continuously produced, tested, and reconfigured. It is a space shaped by diffusion models, generative image systems, and time-based media, but defined less by specific tools than by the conditions they create—instability, excess, and continuous variation. Within this environment, fashion and artistic logic do not occupy fixed positions; they stretch, deform, and adapt in response to algorithmic behavior and human intervention. I understand this space as process-driven rather than outcome-oriented. Works emerge through cycles of generation, selection, and transformation, allowing fragments to coexist before they resolve into coherence. The space itself becomes an active participant, influencing decisions through its constraints and affordances. Rather than treating this space as a container for finished works, I see it as a living coordinate system—one that my practice inhabits, reshapes, and continually renegotiates as new forms of meaning take shape.

Artist Statement

The identity of our generation might as well be like an AI-generated image—forever in a state of incompletion within the cycle of "generation-negation-revision". Those "errors" I deliberately preserve—such as the baby fuzz on a cyborg's neck that wasn't edited out, the moment a high-heel twists into a DNA double helix in loss of control, or the pixel noise flickering in a virtual model's pupil—are actually the human fingerprints I embed in code.My creative journey begins with an instinctive resistance to "labeling". Gen Z is all too familiar with the taste of being defined: social media uses algorithms to stick "persona" labels on everyone, while the real world slices identities into spectra based on age, profession, and purchasing power. Inspired by Y3K aesthetics, I seek to reconstruct this narrative through surreal visual experiments: when fashion imagery takes shape in prompts, AIGC algorithms transform from mere tools into accomplices in deconstructing traditional fashion. Their uncontrollable randomness mirrors the fluid identity of Gen Z between virtual and real worlds—refusing to be fixed by tailoring lines, growing coral-like plural forms through pixel fission. Those folds and textures that defy physical laws are less technical products than a collective rebellion against "identity solidification": as algorithm-generated virtual fashion stretches into the fourth dimension, real-world labels dissolve in the code torrent.Beyond specific works, my artistic truth resides in the breath of every confrontation with algorithms. When virtual fashion can be infinitely replicated in the digital space, and AI-generated images deconstruct "uniqueness" pixel by pixel, I stubbornly believe: human uniqueness lies precisely in those "clumsy" moments that resist algorithmic optimization—the semantic ambiguities that confuse AI by design, and the instinctive dissatisfaction at seeing perfectly generated images. Our generation leaps back and forth between reality and virtuality, like cyborgs leaving overlapping footprints in two worlds. My creations are nothing more than attempts to use the prism of algorithms to refract the glimmer of human nature shining through this fluid identity.These code-recorded experiments will eventually become amber for future generations to look back on our era. We use surreal visuals to resist real-world labeling, and the infinite possibilities of AI to safeguard the finite uniqueness of humanity.This is the truest artistic manifesto.

Published in >

The AI Art Magazine, Number 3

ECDYSIS, AI generation, 2026.

GALAXY, ECDYSIS, AI generation, 2026

Description

ECDYSIS explores transformation as a continuous state rather than a finished result, using Chinese cultural symbolism as the foundation for digital fashion in the age of artificial intelligence. In traditional Chinese culture, the dragon is not a monster but a constructed symbol of order, authority, and collective imagination. The snake, by contrast, appears in ancient myths and folk traditions as a figure of shedding and instinct, closely linked to skin, bodily cycles, and sensory perception. It exists closer to the ground and closer to the body, representing change that originates from within. Rather than positioning the dragon and the snake as opposites, this work places them within a single evolving body. Their coexistence reflects a state of ecdysis, where identity is reshaped through shedding rather than replacement. This aligns with traditional Chinese understandings of transformation as gradual, cyclical, and rooted in nature. Floral and botanical forms extend this logic. In Chinese culture, plants symbolize time, resilience, and regeneration. Growth is depicted as an act of rupture: buds break soil, petals split open, and layers separate. Through virtual fashion and AIGC-driven design, these symbols become generative frameworks rather than decorative motifs. Fashion remains central, while AI enables cultural forms to evolve within a living digital system.

Process

This work began with a personal question: how can tradition continue to transform without being frozen as a symbol in the digital age? As artificial intelligence increasingly enters creative fields, I noticed that fashion is often treated as surface or spectacle, while cultural meaning becomes simplified or replicated. I was moved by the tension between rapid technological generation and the slow, embodied logic of traditional culture. I wanted to explore whether AI could participate in fashion without erasing history, and whether transformation could happen through evolution rather than replacement. Chinese cultural imagery offered a starting point. Symbols like the dragon, the snake, and botanical forms have always carried ideas of change, cycles, and regeneration. They do not represent fixed identities, but ongoing processes. This resonated with my understanding of both the body and technology. I followed the urge to treat fashion as a living system rather than a finished object. By working with virtual garments and AIGC-driven processes, I could observe how forms shed, reassemble, and evolve. This project is driven by a desire to create space where tradition, technology, and the body can continue to transform together, without losing their depth or complexity.

Tools

The process began with Stable Diffusion–based diffusion models, used to generate early garment sketches, line-based fashion studies, and visual storyboards. These text-to-image models functioned as a design laboratory, allowing me to explore silhouettes, surface logic, and material tension before any structural decisions were finalized. I also used diffusion outputs to iterate visual rhythm and shot composition for the film narrative. To expand visual language and perspective, Nanobanana and Midjourney plied to generate multiple viewpoints and alternative visual interpretations of each look, helping me test how the garments behave across different spatial and cinematic conditions. Selected designs were then translated into three-dimensional form using Tripo AI for AI-assisted 3D generation. These outputs were imported into Blender, where I refined garment structure, proportions, and body interaction, and designed camera paths, lighting, and movement. This stage focusing on volume, balance, and the relationship between garment and body. For motion and presentation, AI video generation and motion synthesis tools were used to simulate fabric movement, runway pacing, and cinematic transitions. Final sequences were assembled through AI-assisted editing systems, controlling continuity, and visual coherence. Throughout the process, AI operated as a generative engine, while all design decisions—selection, refinement, and fashion judgment—remained human-led.

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Published in:
The AI Art Magazine, Number 3,
April 2026

Published in >

The AI Art Magazine, Number 2

, AI generation, .

GALAXY, , AI generation,