Simon Lavi

Most people remember the quote from Jaws as: “We’re gonna need a bigger boat.” But that’s not exactly what was said. In the actual scene, Chief Brody says: “You’re gonna need a bigger boat.”

Pink. Unidentified. Such a Useless Color! #028 by @SimonRaion Born in France and having lived in the U.S. for twenty years, Raion has been exploring the intersection of AI and photography since 2021. His work searches for balance between serenity and chaos — crafting scenes that feel like sweatshops, isolation wards, or shantytowns, yet belong to none of them.

Dear @musicalnetta. We'd like to put @SimonRaion's work, "Changing Places," for consideration. His work explores themes of love, change, and daily life. We hope you will consider it 🧡 opensea.io/item/ethereum/… opensea.io/item/ethereum/… opensea.io/item/ethereum/… opensea.io/item/ethereum/…

The result is an illustration that can communicate correctly in different artistic languages. [@SimonRaion]

@0x3y3 Fake. No AI here. Just good old film manipulation.

good morning "Le Saut dans le vide" by Yves Klein

@byarlooo Keep pushing the medium, mate 🤟No limits. You’re doing great work, keep going.

Thanks @SimonRaion, seeing you engage with this post means truely a lot. You shaped and followed how I think about AI imagery, not replicating reality, but discovering new visual territories, still and alive. Your work was one of the first things that showed me AI wasn't about replicating reality but discovering new ones. With a blast. Thank you.

KENPAI - Production Journal - The Threshold I've been editing the first images of KENPAI for two days now, and I'm experiencing something I hadn't anticipated. My 3 characters are climbing the steps of the favela. I see them from behind. They're walking up toward the tragedy I wrote for them. And they don't know it. I do. I spent 3 days creating their faces and outifit. 3 days sculpting beings who don't exist. I even infused my own teenage face into Sorriso, to see if a real face gives more soul to an AI character. There's something of me in him. Something of me that will die at the end of this story. In a traditional shoot, you meet actors who already exist, with their history, their body, their life experience. You direct them, you shape them, but they were there before you. Casting is an encounter. You're looking for someone who matches what you imagined. Here, it's the opposite. These three were born with me. That's what AI creation is, you breathe in ideas, and you watch beings emerge. Whatever people say about AI, this is what it gives me: a new way to bring souls into existence. They formed before my eyes, almost by themselves. Sorriso, Caio, Luana, no one existed before I dreamed them. No real childhood, no family waiting for them after the shoot, no next projects. They're born for this story. Only for it. It's dizzying. I'm not directing actors, I'm bringing entire beings into existence. And the only life they'll ever have is the one I give them. But they've never moved. Never spoken. Never acted. And I trust myself to bring them to life. And now, in the edit, they're climbing these stairs. The music I created pulses under their steps, a tragic synthwave, an electronic funeral march. What overwhelms me is this precise moment where I am: they're still seen from behind. We don't see their faces. Not yet. The edit today stops exactly there, at the threshold. Soon, I'll turn the camera around. I'll give them eyes, a voice, gestures. They'll start to live. And that's when I realize: I'm about to bring into existence beings I created. It's a strange vertigo. A creator's vertigo. A demiurge's. They're like my children. I find all three of them wonderful. Sorriso with his smile and a bit of my teenage face. Caio. Luana. I already love them and they haven't come to life yet. In a few hours or days, I'll see them move for the first time. It will be like meeting friends I know intimately but have never seen in person. And I know how their story ends. I'm keeping this note for later. For the day someone asks me: "What was it like to create KENPAI?" I'll answer: there was this moment, on January 2nd, 2026, when my characters were climbing stairs seen from behind, and I cried before they even had a face. Because I already knew everything. And they knew nothing. KENPAI — 献杯 Rio de Janeiro, 1983 A toast to the dead

@0009ine HNY accidented car

Going into 2026, pushing the material logic further.

gm photographers

Office Mural (Baltimore 2021)

😂😂

@kevinabosch 320x240 pixels is more than enough for art. 🔥

“Photography is the simplest thing in the world, but it is incredibly complicated to make it really work.” – Martin Parr (1952-2025)

@Abods_Bolaji @attentive_mb 👉🙏👈

@attentive_mb @SimonRaion i personally think Simon is up there for me, the subtle use of colors and playful tones, definitely looking to dive deeper.

This piece in @SimonRaion “Pink. Unidentified. Such a Useless Color!” has always caught my eye. Glad to have the opportunity to pick the work on secondary

Imagined cities in the far east Left: Signage Overwhelms Pedestrians - fragment by @bottoproject in the current "Attention Economy" period. Right: TOKYO #16 - Changing Places by @SimonRaion on @FellowshipAi in the collection of @balon_art

@ganbrood Long time ago, "some people said" : Painting is dead. Ironically when photography became available. Maybe the same pattern is repeating itself. Time for Post photography.

Photography is officially dead

@attentive_mb 🙏

@nickfloats Node in your graph is a language. Need to learn to communicate, bitch.

Every node in your graph is a little death of inspiration to me. You've turned imagination into plumbing and disguised it as “creative freedom”. You've mistaken complexity for control and turned creation into workflow theater. Let us build worlds, not workflows. Don't give me nodes, bitch I am the node. Creation should be fluid, not a flowchart. Tools should disappear instead of demanding our attention. That's how imagination truly scales.

@kevinabosch @ParisPhotoFair @taex_com Cool

Gm Fluctuat nec mergitur