Since first witnessing Alien on a battered 1980s screen, this anonymous artist has pursued the biomechanical sublime with forensic focus. A formative encounter with H. R. Giger’s Necronomicon exhibition—hours spent motionless before air-brushed leviathans—locked that obsession in place.

Generative-AI systems (Midjourney, the original DALL·E, Stable Diffusion, Sora) have become his scalpel. He splices Giger’s xenomorph schematics with Ridley Scott’s production marginalia, Ernst Haeckel’s embryology and deep-space telemetry. The output: austere stills and looping microfilms that circulate online as phantom storyboards for unwritten Alien sequels.

Presentation is clinical—lenticular lightboxes, monochrome LED walls, soundtracks distilled from sonified embryonic data. Each installation functions like a lab: images mutate in real time, audience motion guiding the algorithmic drift.

What emerges is not homage but dissection. Pop-cinematic DNA is laid bare, recombined, left to gestate in darkness. The work reminds us that futures—biological, mechanical, cinematic—are born cold, precise, and utterly indifferent.