Misfits Studio

Event Field 05.04-14.26 (this event field still active) continuation of my series that expresses a quasi-reportage of the emotional atmosphere of the U.S./Israel-Iran war, not literally from the actual “theatre” I endeavor to abstract my work as much as possible in order that viewers may connect with it from their own lived experience for me, this piece is all about the oil, and the ongoing global tensions radiating out from the Strait of Hormuz it also continues to investigate awareness of and emotional response to distant events about which received information is mediated, misleading, incomplete, and/or otherwise confusing ____________ presented as a diptych (or two-channel video), the format of this video harkens back to one of my first minted videos with @FellowshipAi in 2024 to create the keyframe images for the right half (or second channel) of this video, I used AI to blend: (1) various images previously generated in Midjourney (from both legacy models, drawing from images generated in 2022, and also current models), and (2) public domain photos, such as of US Navy vessels to create the keyframe images for the left half (or first channel) of this video, I used LORAs that I had trained with my own imagery

@evrythngissoft 🫂🙏

sick all week and still sick be back when the insides of my head don’t feel like it’s on fire

@kotsoft Stunning, and amazing system. I look forward to interacting with it.

chemical reaction between sodium and water

@quasimondo Many thanks, Mario 🙌

@Barbara_Chira Lovely!

Event Field 04.16.26 v2

@halecar2 whut I mean, amazing!

@Barbara_Chira hahahaha yes!

📺when the INTERNET made paintings reproducible📺 John Berger on the @SHL0MS experiment 😜😜

@BiancoDavinci Wonder how that worked out for that guy.

This crazy anti-distraction helmet from 1925 was designed to eliminate distractions and maximize concentration.

@_EM0JI @finn_808 @halecar2 🙌🙏 Happy Friday, friend.

@Barbara_Chira @finn_808 @halecar2 🔥😎🔥

🧵 Signal Flags is a finite series of 13 works created from Jan 24-Feb 12, 2026 in response to specific moments of citizen expression and state presence during events in Minneapolis. They began when U.S. citizen and lawful observer Alex Pretti lost his life, and ended when Border Czar, Tom Homan, announced the drawdown of ICE from Minneapolis. Drawn from moments of increased collective awareness across the U.S., if not the world, these works translate tension and instability into visual signals — both direct and symbolic — that reminded me of international maritime signal flags. As with Event Fields, this Signal Flags series is part of Remote Viewing, a new ongoing collection that looks at how geopolitical events are experienced at a distance, exploring both AI and human interpretation of information that is mediated, incomplete and/or otherwise confusing. My appreciation to @FellowshipAI for presenting this work, and sincere thanks to all collectors thus far. Signal Flag 001 collected by @halecar2:

It may not be painting that I miss after all. It may be the mixing.

@JenPanepinto My kind of pizza

The cake is a lie.

@finn_808 Signal Flag 009 collected by @halecar2 Thanks, Ale! I didn‘t realize until today that you collected this. 🙌🙏 If I were to have assigned an additional title for this particular piece, it may have been “morphing mathematics of lawful distance”

Signal Flag 010 collected by @finn_808 Many thanks, Finn 🙌🙏

@VALIPOKKANN I appreciate your support, but it may be too generous. Many thanks.

@Barbara_Chira out of all the self claimed AI artist creating shallow slops, you are THE AI ARTIST 🧡

@postanika @quasimondo @sleekmag @artontezos_ Lately, I have been thinking a lot about not “adding to the flood“.

»Mario Klingemann shows in Berlin how AI-generated images can assert themselves beyond the constant flood: through disruption, reduction, and irritation. His exhibition makes the conflict between human control and machine logic visible.
 What does a pioneer of AI art do when AI images suddenly become ubiquitous and attention spans shrink to goldfish levels? How can one still produce interesting images—or should one perhaps stop adding to the flood altogether? These are the questions the artist Mario Klingemann is asking. ›Conflict of Interest‹ is the title of the exhibition curated by Anika Meier, which Mario Klingemann is presenting at the Gallery Weekend Berlin at the Sleek Art Space. Throughout the exhibition, one can sense the questions Klingemann is raising about image-making today.« – Elke Buhr, Monopol

Let me explain my "Weapons of Mass Distraction" series:

@dancevatar @alsoguppyme_ 🫶

@Barbara_Chira @alsoguppyme_ 👀

Huichuan Wang: "These installations, akin to biological microchips, are overlaid with switchable glass that imitates breathing... meticulously archived specimens in the future, challenging perceptions of what is visible and what remains hidden in our increasingly digital landscape." Below: Pixels of the Sea by Huichuan Wang, 2024

@nerdy_native What a shame. But this video will mark this moment in history, for sure.

Trestle bridge fire just south of Canyon burning at night

@fellowshiptrust @john__gerrard just so brilliant

WESTERN FLAG (SPINDLETOP, TEXAS) 2017 by @john__gerrard Western Flag (Spindletop, Texas) 2017 depicts the site of the 'Lucas Gusher' - the world's first major oil find - in Spindletop, Texas in 1901, now barren and exhausted. The site is recreated as a digital simulation and placed at its centre a flagpole bearing a flag of perpetually-renewing pressurised black smoke. The computer generated Spindletop runs in exact parallel with the real site in Texas throughout the year: the sun rising at the appropriate times and the days getting longer and shorter according to the seasons. The simulation is non-durational (having no beginning or end) and is run live by software that is calculating each frame of the animation in real time as it is needed.

@quasimondo And in June 2024.