HYPER FALSE

Description

Surreal underground trip unfolds in a real, recognizable environment: an underground station, its architecture, its rhythms, its rules. Nothing is altered, nothing is digitally exaggerated. And yet, something does not align. A body moves through this space following gestures that belong elsewhere. Swimming equipment appears without water. Actions oscillate between preparation and performance, between functionality and fiction. The scene remains plausible, but its logic is suspended. The ambiguity emerges in the gap between what is seen and what is expected. Reality is not replaced by simulation; it is gently pushed out of focus. The underground becomes a stage where everyday infrastructure hosts a quiet, persistent displacement. Artificial intelligence operates here as an invisible agent. Not as an effect, but as a way of thinking: repetition, neutrality, misplacement, the flattening of meaning. The video behaves like a synthetic memory of reality—accurate, coherent, and subtly unreliable. Surreal underground trip occupies the threshold between real and false. A space where reality starts to imitate its own artificial version, and fiction remains convincing precisely because it never fully breaks away from the real.

Process

This artwork emerged from a growing attention to moments where reality begins to feel slightly artificial, without any explicit intervention. Public infrastructures—such as underground stations—are already highly coded environments, shaped by efficiency, repetition, and behavioral protocols. They operate almost like systems. The initial impulse was to introduce a minimal displacement into this context: a real body performing a real action that is functionally incorrect, yet visually plausible. By inserting an object and a gesture that belong to another environment, the work explores how easily reality can absorb fiction without visibly breaking. Artificial intelligence influenced this work less as a production tool and more as a conceptual lens. The logic of AI—repetition, decontextualization, pattern recognition—offered a way to read everyday reality as something already halfway synthetic. The artwork translates this logic back into the physical world, without effects or simulation. Surreal underground trip was created to observe what happens when reality is pushed just enough to start resembling its own artificial double: a space where meaning becomes ambiguous, and the distinction between real and false remains intentionally unresolved.

Tools

The work combines traditional video practices with AI-based image generation and subsequent video animation. The footage originates from real locations and physical actions, captured using conventional filming techniques. These analog materials form the base layer of the project. Artificial intelligence was then used to generate images derived from the original visual material, extending and subtly altering its logic. These generated images were not treated as final outputs, but as intermediate states—fragments that were further processed, animated, and reintegrated into the video. The technique follows a contaminative approach: analog reality feeds digital generation, which in turn influences the final moving image. The process avoids spectacle and overt manipulation, favoring continuity and ambiguity over contrast. Rather than separating real footage and synthetic imagery, the work blends them into a single visual language, allowing the boundary between documentation and construction to remain deliberately unclear.