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Moist Moon

United Kingdom

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

Every day I go on long walks in the forest with my dog. This has forced me to develop a personal intimate relationship with the natural habitat I exist in and the habit of observing the space, trying to take in all of its sensorial aspects. The starting point for my artistic practice is therefore always a deep observation that is accompanied with pause and reverence. The silence allows for words to appear organically (lest we forget “in principium erat verbum”), which then I attempt to translate visually in a back and forth of prompt and visual output. The emergent conversation with the AI is in itself the art and, in a way, the ultimate dream of the ancient bards. I see relinquishing total control as part of the creative process. If I had to translate where I stand in a spatial language, I would say I am peripheral and I always place the call or the inspiration above everything, with the natural world at the centre as an inexhaustible source for creativity.

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

Experimentation is a space where I feel very comfortable, I rejoice being in a state of constant growth as an artist (note that I do not mean growth as linear progression). I never try to recreate the same style throughout my artworks, but now that I have produced enough I am starting to discern a common aesthetic thread. My compass is that of pushing my art in an increasingly sensorial space, so I want to get to the point in which I can integrate sound. I would describe my path as similar to the multiple and concentric circles that rain creates on a puddle: I don’t know where the drop is going to land but I know it will activate an interior force that expands concentrically towards the exterior, reverberating within me and giving me life.

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

Initially I was creating, perhaps not secretively, but without any attempt to put my artworks out there. Slowly but steadily, I started feeling the call to legitimise the existence of my endeavours, and my art started percolating through the gaps, as creativity does. This percolation is ongoing and taking over new unchartered territory. When I observe one of my artworks in a public space and maybe I see someone looking at it, I feel like I have created a tiny but dense planet that is able to curve space with its mass. Art is my safe space: I love to be playful and experiment with new things. I want my space to remain open and receptive, so I always have my antennas out for new things. It’s exciting to be part of a community who is exploring new tools and is shaping the culture on this side of the code. I believe that the work of many in this field today will be recognised as pioneering in the future.
Published in >
The AI Art Magazine, Number 3
Cleotilde, AI generation, 2026.
Cleotilde, AI generation, 2026.
Moist Moon, Cleotilde, AI generation, 2026

Description

This work is about surrendering to the Muse, who teases you with her playfulness but unattainability. This approach reflects my own relationship with my artistic practice which I pursue uncompromisingly and unapologetically. The Muse is shapeshifting (symbolised by iridescence) and looks as if she is emerging from darkness because her realm is that of the inscrutable. I believe that art should function as a periscope into consciousness, a tool to reveal what lies beneath the surface.

Process

One of the main aspects of my work is texture. I tend to prefer moist, viscous textures, and getting the texturing right takes up a lot of space in my practice. For this series I felt the calling to combine a deep textural research with the use of short key lighting. I want to convey a sense of dampness, abyss, mystery and sacrality.

Tools

The works have been entirely produced through Midjourney. I used images for style references and moodboards.

Image credit:
Essay by