Skyscrapers Erupt

Daily Program / Season #3

Houses Appear in Desert

Desert Development

Rolling Green Hills

This Little House

Big Red Rock

Wall is Liquid-2

The solid boundaries that once separated us have now begun to melt and shift like liquid. This series, “Wall is Liquid,” is an attempt to explore the ambiguity of the boundaries we take for granted—between reality and fiction, and between the visible and the invisible.
I am working to visualize the cognitive dissonance that occurs the moment the brain judges something as “non-existent,” even though it is visually complete. When a wall that should be solid manifests as liquid, the retina attempts to capture it as a record of reality, while the brain strives to process it as fiction—an output of computation. It becomes stuck in the gap between these two. This series is a “perceptual verification device” designed to intentionally induce this state of “Cognitive Glitch” and activate new perception.

“Wall is Liquid” is not an expression of emotional reality. It is the crash mark of “cognitive friction” arising at the interface where the “black box” of AI collides with the human “cognitive system.” The work does not fix meaning; it functions as a “catalyst” to be supplemented within the viewer's mind.
Faced with fluid boundaries, recognition falters and freezes in that void. It is within this noise that the “algorithm of vision” through which we perceive the world is exposed, revealing the depths of vision I wish to present.


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Wall is Liquid1

The solid boundaries that once separated us have now begun to melt and shift like liquid. This series, “Wall is Liquid,” is an attempt to explore the ambiguity of the boundaries we take for granted—between reality and fiction, and between the visible and the invisible.
I am working to visualize the cognitive dissonance that occurs the moment the brain judges something as “non-existent,” even though it is visually complete. When a wall that should be solid manifests as liquid, the retina attempts to capture it as a record of reality, while the brain strives to process it as fiction—an output of computation. It becomes stuck in the gap between these two. This series is a “perceptual verification device” designed to intentionally induce this state of “Cognitive Glitch” and activate new perception.

“Wall is Liquid” is not an expression of emotional reality. It is the crash mark of “cognitive friction” arising at the interface where the “black box” of AI collides with the human “cognitive system.” The work does not fix meaning; it functions as a “catalyst” to be supplemented within the viewer's mind.
Faced with fluid boundaries, recognition falters and freezes in that void. It is within this noise that the “algorithm of vision” through which we perceive the world is exposed, revealing the depths of vision I wish to present.
Taketo Muroi

Wall is Liquid2

The solid boundaries that once separated us have now begun to melt and shift like liquid. This series, “Wall is Liquid,” is an attempt to explore the ambiguity of the boundaries we take for granted—between reality and fiction, and between the visible and the invisible.
I am working to visualize the cognitive dissonance that occurs the moment the brain judges something as “non-existent,” even though it is visually complete. When a wall that should be solid manifests as liquid, the retina attempts to capture it as a record of reality, while the brain strives to process it as fiction—an output of computation. It becomes stuck in the gap between these two. This series is a “perceptual verification device” designed to intentionally induce this state of “Cognitive Glitch” and activate new perception.

“Wall is Liquid” is not an expression of emotional reality. It is the crash mark of “cognitive friction” arising at the interface where the “black box” of AI collides with the human “cognitive system.” The work does not fix meaning; it functions as a “catalyst” to be supplemented within the viewer's mind.
Faced with fluid boundaries, recognition falters and freezes in that void. It is within this noise that the “algorithm of vision” through which we perceive the world is exposed, revealing the depths of vision I wish to present.

Taketo Muroi

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Canandos en alta mar

A woman discovers that every lock she has ever closed is now growing from her collarbone. The sea, which nobody invited, agrees to serve as fitting room. Somewhere between the third and fourth padlock, the dress decides it will never be opened again, and the woman — who may have been a door all along — finds this perfectly reasonable.
Batto90

Chainsaw dress

nstructions for putting on a dress that is also a chainsaw: first, accept that elegance has teeth. Then understand that the fabric is not fabric but a continuous scream organized into pleats. The model walks as if nothing were severing the runway behind her, because in fact nothing is — the runway was never really there.
Batto90

Barbedwire dress

Someone confused a perimeter with a garment, or perhaps a garment with a country. The wire remembers being a fence and performs its memory on skin. Each barb is a small question nobody wants to answer. The dress fits perfectly, which is the most violent thing about it.


Smoking dress


The dress smokes or the dress is smoking — in Spanish these are different catastrophes. Fabric exhales. The woman inside the smoke may be the cigarette, or she may be what the cigarette dreams when left burning in an ashtray at 4 AM in a hotel room in a city that doesn't exist yet.
Batto90

Head dress

A head wearing a dress or a dress wearing a head — the syntax collapsed and now both readings are simultaneously true. The garment begins where the skull ends, or the skull begins where the garment ends. A bureaucrat in a Borges story would file this under "unresolvable."
Batto90

Vision Panoramica

The panorama looked back. This is the problem with wide angles: eventually the landscape realizes it is being observed and begins to dress accordingly. Every pixel is a small revenge against the frame. The vision is panoramic but the panic is very, very specific.
Batto90

Pasta Dress


Spaghetti as couture, which is to say: fashion finally admits it was always about being consumed. The dress is al dente. The model is a fork. The runway is a plate rotating slowly in a microwave that contains the entire history of Italian longing. Somebody's nonna is furious and also, somehow, proud.
Batto90

Door Dress

A woman becomes an entrance. Or: a door realizes it has been a woman this whole time, merely pretending to be architecture. Guests knock. The dress opens onto a room that contains another door wearing another dress, and so on, until hospitality becomes infinite and therefore unbearable.


Monster truck yoga

The truck attempts downward dog. Four thousand kilograms of steel and painted flame achieve a flexibility that the human body, in its arrogance, assumed was its monopoly. The yoga mat is a crushed sedan. Namaste, says the engine, and nobody can prove it didn't mean it.
batto90

Implant corp 3

A corporation that manufactures the future and installs it under your skin without asking. The brochure is written in a language you understand only while sleeping. Side effects include: becoming the product, forgetting you were ever the customer, and a mild sense of chrome where your nostalgia used to live.


Doomwalking

Wred into a system we no longer question.
Fed by a constantly changing ground, we move endlessly, convinced we are progressing.

But nothing changes.

Doomwalking reflects the illusion of forward motion in the digital age. The ground beneath us shifts, updates, refreshes, keeping us engaged, distracted, and in motion. Yet we remain in the same place, repeating the same patterns.

The device becomes both path and prison.
A personal treadmilll carried in every hand.

We scroll, consume, react, mistaking movement for meaning.

The faster we move,
the less we go anywhere.


Carried Away

We drift without resistance.
Surrounded by signals, screens, and endless information, we slowly surrender to the current.
We know the system exhausts us, distracts us, pulls us under, yet we continue to float within it. Not because we believe in it, but because letting go feels easier than fighting back.

Technology becomes an ocean.
Messages, notifications, and content form waves that carry us further from presence, from stillness, from ourselves.

There is no struggle.
No urgency.
Only quiet acceptance.

We are not being forced.
We are drifting.

And the deeper we go,
the harder it becomes to remember
that we ever had the choice to swim.


The Art Collector

Art Collector is a visual poem that circles around the figure of the collector as a social type. The piece moves through generative drifts and layered models, producing images that mimic the opulence of private collections while slowly distorting them. It watches with a certain ironic distance the way financial power colonizes sensibility, turning the encounter with art into the performance of a class. Glitches serve here as a form of mild sabotage, as if the machine itself were unconvinced by the whole arrangement.
Myself

Monologue

Monologue is a visual poem built around the monologue of an artificial performer who speaks of feeling. The piece asks what it means to simulate interiority with sufficient precision that the question becomes irrelevant, or unbearable. The figure at the center of the work delivers her lines with a cadence that is almost right, almost inhabited, producing a discomfort that belongs neither entirely to the uncanny valley nor to ordinary empathy. Through mixed generative models and intentional parameter drift, the images follow the texture of a performance that has no backstage: no private self behind the role, no gap between the mask and what wears it.
Myself

The Fellowship Daily Program's first year was dedicated to AI video, documenting one of the medium's most rapidly evolving periods. With contributions from artists worldwide, creating unique works, the program stands as a comprehensive exploration of AI video's technical, aesthetic, and conceptual advancements from 2023 to 2026. Artists experimented boldly, from SORA to text-to-story narratives, significantly advancing their individual voices and demonstrating the medium's capabilities as a new tool for art making, storytelling, and visual experimentation.

Looking ahead, the Daily Program Season 3 will focus on a carefully selected group of artists whose exceptional potential we are committed to supporting through dedicated curation, mentorship, and promotion. As AI tools rapidly evolve, these artists are at the forefront, exploring new dimensions within their creative practice. The Daily Program Season 3 provides a platform for artists to share their evolving journeys, breakthroughs, and ongoing dialogues with both their peers and collectors.

Group Show

Daily Program / Season #3

Overview

"It's rare we get to see a live creative push and pull between changes in tools and the possibilities and constraints they offer artists to create art. This is a once-in-a-lifetime opportunity for many of the artists willing to experiment."

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