Photography has always been my calling; the desire to capture beauty drives my thoughts and creativity. As a child, I fell in love with photography using my first Polaroid camera. Inspired by the fashion images in Vogue and Harper’s Bazaar, I envisioned a future as a fashion photographer. Defying my parents, I pursued an art education and immersed myself in film photography, exploring themes of women, beauty, and the body. Financial constraints led me to self-portraiture — a practice that deepened both my visual understanding and my struggle with anorexia, as I searched for perfection through my own image.
With the advent of digital photography, I began working with models yet found myself unable to translate my vision into a compelling narrative. Despite contributing to major shoots for Vogue and other leading publications, I experienced moments of profound unfulfillment. I first heard of artificial intelligence in 2018, but it wasn’t until 2023 that I fully embraced it — creating, at last, the models I had always dreamed of capturing. My goal remains unchanged: to produce breathtaking fashion imagery and evocative fine art nudes that push the boundaries of what beauty can be.
My work stands at the edge of image and consciousness, where technology ceases to be a spectacle and becomes a witness. I do not celebrate artificial intelligence; I interrogate its affective capacity — its ability to echo pain without ever feeling it. Each image I generate is a test, not of style but of empathy. The process remains secret, because what matters is not the mechanism but the tension it creates: a silent dialogue between algorithmic logic and human fragility.
Unlike the decorative optimism of mainstream AI art, my practice rejects seduction, glamour, and futurist prophecy. It moves instead through absence, melancholy, and the anorexic body — forms that resist the market’s appetite for smooth surfaces and synthetic perfection. I seek not to humanize the machine, but to expose the humanity we project into it.
These works are not simulations of feeling; they are traces of confrontation.
What emerges is the image of a world that no longer distinguishes between the artificial and the wounded.
In that blur, I find the only space where beauty and wound become indistinguishable — the true contemporary sublime.
Alice Odilon