Synthetic Evolution 2 by Ken Rinaldo at the SP/N Gallery University of Dallas 2026 Curated by Dr Charissa Terranova

These AI-mediated transformations extend a practice that began with my early robotic generative artworks, where motors, sensors, machine logic, and diagrammatic systems were used to create interactive installations responsive to environmental and biological signals. In those earlier works, mechanical behavior functioned as a form of proto-intelligence—systems that sensed, reacted, and adapted in real time.

Over the past decades, I have increasingly merged machine schematics, electronic circuitry, and algorithmic diagrams with biological imagery, producing hybrid visual languages that oscillate between the engineered and the organic. These forms suggest speculative relationships between machines and living systems: sacs become organs or containers of agency, membranes imply permeability and exchange, motors echo muscular action, and vesicles operate as carriers of information and energy.

For Synthetic Evolution, I trained AI models on my hand-drawn works series, embedding constraints and rules that echo my longstanding compositional strategies.

These rules shape how forms may recombine, mutate, and propagate, allowing the AI to function less as a tool of automation and more as an evolutionary collaborator.

Because the source material is deliberately abstract and suggestive, the AI-generated outputs preserve this indeterminacy; however, the linguistic prompts introduced into the system often redirect the imagery toward unexpected figurative, ecological, or anatomical readings. Language here operates as a selective pressure, nudging visual evolution toward new territories.

Through iterative refinement, I curate and rework the most compelling AI-generated results—altering color, density, scale, and spatial relationships—reasserting the artist’s hand while honoring the agency of the system.

The resulting works occupy a liminal zone between authorship and emergence, intuition and computation.

Synthetic Evolution ultimately proposes AI not as a replacement for creative labor, but as a living, semi-autonomous system embedded within a broader continuum of biological, technological, and cultural evolution.

Exhibitions

934 GALLERY                                                                                                                   Columbus, Ohio, Nov 21- Dec 13, 2025
Showing Synthetic Evolution prints and videos, Organic Murmuration prints and videos & SIGNS, Invited by Gallery Staff.

SP/N GALLERY                                                                                                                               Dallas, Texas, Feb 7-Apr 25, 2026
Organic Worlds: Symbiogenesis in Art presents the World wide premiere of Symbiogenesis, and Anicca Antennae-Soil as Brain; robotic beings, as avatars to insects, soil and bacteria as well as The Evolution of Information = Life, Organic Murmurations, 1-SIGN, 3 Story Robots 3D Animation, a two person exhibition with Amy Youngs. Invited commissioned by Professor Dr Charissa Terranova. 

The original Mother Russia Meltdown by Charles Wince is the painting that inspired my work below. Charles’s extraordinary oil painting, created with a keen and critical eye, dissects the relentless noise of consumerism, the grip of oligarchs, and the exploitative nature of capitalism. As a self-taught artist, his work is both raw and deeply intentional, offering a sharp critique of the forces shaping modern society.

His masterwork has been in progress for many years, evolving as part of a broader collection of oil paintings on wood and canvas. This body of work interrogates the illusions of consumerist culture and exposes the hollow promises of economic systems built on exploitation and environmental destruction—an unflinching look at the cost of unchecked greed and power.

In response to Wince’s Mother Russia Meltdown, my work is a hand-drawn piece on paper, framed with laser-cut stainless steel. It engages in dialogue with his painting, echoing themes of collapse, conflict, and systemic failure, while also reflecting on the broader consequences of war, industry, and environmental ruin.

I am also deeply sorrowful for the more-than-human world—the trees, the animals, the pets left behind in the chaos, and the intricate, living systems that sustain us all. War does not just devastate human lives; it scars the land itself, poisoning rivers, stripping forests, and leaving behind a toxic legacy that lingers for generations.

Bombs do not distinguish between combatants and the fragile ecosystems they obliterate. Forests become battlefields, homes for countless species turned to ashes. Streams that once nurtured life run thick with pollution from fuel spills, chemical runoff, and unexploded ordnance. The very air becomes tainted with the smoke of destruction, affecting not just those who breathe it now but those who will inherit this wounded earth.

The animals caught in war—whether the pets abandoned in the rush to flee, the livestock left to starve, or the wild creatures whose habitats are reduced to rubble—suffer silently, their pain often overlooked. Their losses do not make headlines, yet they, too, are casualties of human violence.

And war’s reach does not end when the fighting stops. The land bears the scars for generations. Soil poisoned by depleted uranium, dioxins, and heavy metals remains toxic long after the last shots are fired. Fields once fertile are left barren, rivers lifeless. Communities are forced to reckon not only with their own grief but with the slow, insidious decay of the land they call home.

War is not just a human tragedy—it is an assault on life itself. And as long as we continue down this path of destruction, we risk severing the very connections that sustain us, forgetting that we, too, are part of this fragile web of existence

Mother Russia Meltdown 2 by Ken Rinaldo is a reflection on the universal suffering caused by war, extending its empathy not only to human victims but also to the unseen, often overlooked beings—those yet to be recognized, discovered, or acknowledged in the vast web of life. It mourns for all who endure the consequences of violence, whether visible or hidden, present or yet to come.

For me, this piece resonates deeply on a personal level. My father, along with my grandmother and aunt, once walked across France, fleeing the Nazi occupation of Paris. Their journey was one of survival, fear, and resilience—an experience that echoes through history and continues to be felt in the countless displaced lives of today’s conflicts.

His growth was stunted due to severe malnutrition, a direct consequence of wartime scarcity. Deprived of essential nourishment during his formative years, his body bore the marks of a childhood spent in hunger. Yet, even greater than the physical toll was the emotional weight he carried—growing up without his father, who was killed by a mortar blast when he was just seven years old. The war didn’t just take his father’s life; it shaped his entire existence, leaving behind an absence that could never be filled.

If not for the kindness of a Swiss family who took him in each summer and nourished him with proper meals, he may not have survived. Their generosity was a lifeline, offering him not only sustenance but a brief refuge from the hunger and hardship that defined his early years.

War and its wounds do not simply vanish when the last shots are fired. The pain, the trauma, and the loss ripple through generations, shaping lives long after the battles have ended. I feel an overwhelming sense of sorrow for the refugees forced to flee the senseless violence in Ukraine and Russia, leaving behind their homes, families, and histories in search of safety.

Charles Wince’s painting, though created long before the war in Ukraine, eerily foreshadows the present crisis. Originally reflecting on the collapse of the Soviet Union, its relevance today is striking—especially as the Zaporizhzhia nuclear plant remains under constant threat due to the Russian siege. What was once a prophetic vision of instability has now become an unsettling reality, with the specter of nuclear catastrophe looming over an already war-torn region.

Venues:

Exhibitions

The Vanderelli Room Columbus Ohio 2022
Mother Russia Meltdown invited by Charles Wince

Synthetic Evolution

The Synthetic Evolution series merges human creativity with artificial intelligence, using advanced algorithms to transform and evolve my hand-drawn visual forms, patterns, and imagery into entirely new experimental compositions. These AI-driven processes generate unexpected variations, reinterpreting and expanding upon my original drawings in ways that push the boundaries of traditional artistic expression. Through this fusion of human intuition and machine intelligence, the series explores the intersection of organic and synthetic creativity, resulting in both static works and dynamic moving image pieces that continually shift, morph, and reimagine themselves in real time.

These hand-drawn works are closely connected to my robotic generative artworks. In my interactive installations, I integrate motors, sensors, circuit designs, and custom programming to build large-scale robotic systems. As I work with machine diagrams and technical schematics, I have discovered an unexpected aesthetic—one that merges mechanical precision with organic flow. My original drawings serve as training sets for AI-generated works, blending machine diagrams with biological forms to suggest movement, function, and interconnectedness.

For the Synthetic Evolution exhibition, I defined a set of rules and parameters based on my hand-drawn works, using them as training data sets for artificial intelligence engines. These datasets are merged with large language models, enabling AI to generate new visual compositions derived from my original drawings. Because my works are abstract and open to interpretation, the AI-generated variations maintain this quality—yielding experimental and suggestive forms. The algorithm produces numerous iterations, and I curate the most compelling results to refine and evolve further.

This process is repeated hundreds of times until I find a piece that best captures the balance between my hand-drawn art and AI’s generative interpretation. At this stage, I enhance the digital work by adding color and adjusting form before finalizing the piece. Once completed, I incorporate these works into a video program, showcasing the transformation from original drawing to AI-generated evolution. AI-generated sound further amplifies the experience, allowing viewers to witness the unfolding of this digital evolution in real time.

Synthetic evolution using AI in visual art is an exciting and rapidly growing field, and I am exploring its potential to create new forms of expression that may challenge traditional notions of creativity and authorship.

By combining the power of artificial intelligence with my vision and intuition, synthetic evolution has the potential to lead to new forms of art that blur the boundaries between human and machine-generated creativity.

Artificial intelligence tools powered by machine learning are revolutionizing both the arts and sciences, reshaping the way we create, discover, and innovate. One of the most groundbreaking advancements is AlphaFold, which has demonstrated an unprecedented ability to predict highly accurate 3D models of protein structures.

This breakthrough has the potential to transform the field of biology, accelerating drug discovery, medical research, and our understanding of life at a molecular level. While DNA has long served as the slow but effective mechanism of evolution for all species, AI has now emerged as a powerful accelerant—reshaping not only how we evolve biologically but also how we interact with and adapt to our rapidly changing world.

In the realm of art, AI tools have become widely accessible, allowing for seamless remixing, reinterpretation, and transformation of cultural expressions. With this democratization of creative technology, culture itself feels like it is igniting—metaphorically and literally—as the boundaries between human and machine-made art blur, and the pace of artistic evolution accelerates at an unprecedented rate.

So how do artists support the coming AI, neural network, and big-data art boom? We learn the tools and the technology and engage in the process of remixing. Suppose the artist cares not for the tools we have.

In that case, we develop new AI algorithms, processes, and techniques. I strongly believe that we must misuse the tools and push the boundaries of these tools—often designed for commercial purposes—by repurposing them in ways that expand our imagination, and challenge the dialogue surrounding AI art aesthetics. If we use the tools as intended we end up with the same images everybody is mindlessly creating using AI with simple word prompts.

While we may not have personally chosen the technologies we engage with, as artists, we shape them just as they shape us. These tools are not only creating and evolving alongside us but also redefining the way we perceive, interact with, and express creativity.

The Synthetic Evolution exhibition deconstructs and reinterprets existing hand-drawn works, using them as training sets for AI. This process allows the AI to further evolve and mutate these images, generating new iterations informed by additional key words inspired by the original drawings. These words act as guiding parameters, steering the AI’s algorithmic creativity and influencing the emergence of entirely new generative works derived from the original data

The images were selected from the Sacs, Membranes, Motors, and Vesicles series, as well as The Immaculate Organicism series. These works serve as the foundation for AI-driven transformations, fed into artificial intelligence and vision systems that utilize learning algorithms and generative adversarial networks (GANs). Through this process, the AI analyzes, reinterprets, and evolves the original compositions, generating new visual forms that emerge from the interplay between human intention and machine intelligence.

The fusion of microbial world drawings, machine diagrams, and biomorphic remixes—combined with the AI systems’ learning algorithms and keyword-driven inputs—resulted in dynamic explorations of color, composition, and form. This process not only generated new visual iterations but also gave rise to an evolved human-machine aesthetic, where organic and mechanical elements seamlessly intersect in a continuously shifting dialogue of creativity.

As artificial intelligence (AI) increasingly shapes visual culture, we are witnessing the rise of authentic synthetic aesthetics—an entirely new creative paradigm. The integration of big data, vision systems, and advanced image analysis with AI has reached a level where artistic styles can be replicated with such precision that even experts can be deceived. This challenges our fundamental understanding of creativity, blurring the lines between human intention and machine-generated expression, and compelling us to reconsider what it truly means to create.

Part of the exhibition also features AI-generated images created through text-based prompts, which pull from vast databases of images across the World Wide Web. By using carefully selected words as input, the AI synthesizes new compositions, blending elements from diverse visual sources to generate unique, algorithmically crafted works. This process highlights the intersection of language, data, and machine creativity, further expanding the dialogue on the role of AI in contemporary artistic expression.

These images are fed into the system, where AI algorithms process and synthesize them into cohesive visual compositions. The AI works to resolve the complex collages generated from the multitude of words and phrases, interpreting and merging disparate elements into new, algorithmically structured forms. This process transforms linguistic input into dynamic visual outputs, further exploring the relationship between text, data, and machine-driven creativity.

Hundreds of images are rendered before carefully selecting just one or two that best align with the artistic vision. Once generated, I revisit these renders, refining them by enhancing color, adjusting lines, and redefining forms. This final stage of intervention bridges human intuition with machine generation, allowing for a deeper synthesis between AI-driven creation and personal artistic expression.

Just as biological species have evolved over time, so too have algorithmic species emerged, shaped by data, computation, and machine learning. The vast accessibility of knowledge at our fingertips has fundamentally transformed how we imagine and create, dissolving traditional boundaries between individual and collective intelligence. In this new paradigm, human creativity is no longer an isolated act but part of an emergent cognition—one that draws from the immense web of interconnected knowledge while still being guided by human notions of aesthetics, intuition, and meaning.

With machine learning, computers are approaching the threshold of exhibiting evolutionary survival instincts and the development of emergent, self-aware software agents. These systems continuously adapt, optimize, and refine their responses based on vast datasets, mimicking the principles of natural selection in digital form. As AI models grow increasingly autonomous, they hint at the potential for machine-driven evolution—raising profound questions about intelligence, agency, and the future of artificial cognition.

Epistemology has always been shaped by the lenses through which we perceive reality. When lenses were purely analog, crafted from glass, they profoundly altered our worldviews, expanding our ability to see and understand the universe. Today, while physical lenses remain, they are increasingly supplemented—or even supplanted—by silicon, algorithms, and artificial intelligence. Databases and computational models now function as new epistemic lenses, reshaping not just how we see but how we process, interpret, and construct knowledge itself.

Data-driven, algorithmic ways of knowing are rapidly becoming the dominant mode of understanding and interpreting the world. As artificial intelligence and machine learning systems process vast amounts of information at unprecedented speeds, they increasingly shape decision-making, creativity, and even perception itself. This shift challenges traditional human-centered epistemologies, raising critical questions about the role of intuition, subjectivity, and meaning in an era where knowledge is increasingly mediated by algorithms.

Digital visualization and fabrication technologies are increasingly replacing the direct touch of the artist, transforming the creative process. The computer has become an ideational amplifier, extending artistic capabilities beyond traditional mediums. When combined with biological advancements like CRISPR-Cas9, these technologies open the door to the emergence of semi-living, constructed species—hybrids of the organic and the synthetic that challenge conventional distinctions between life and machine.

As a species, we are becoming more deeply intertwined with technology than ever before. In this age of computer-based art forms, the boundary between human and machine is dissolving, fostering an unprecedented level of intimacy between biological creativity and digital evolution.

We now experience nature primarily through the lens of our screens—phones, tablets, and smart TVs—where the natural world is replicated as images and videos, filtered through digital interfaces rather than direct experience. Our connection to nature has become increasingly mediated, transforming it into a spectacle consumed within the confines of technology.

At the same time, human data is constantly seeded, collected, and commodified, feeding into vast algorithmic systems that shape everything from online interactions to artistic creation. In this landscape, human-machine symbionts have fully emerged, blurring the boundaries between organic intuition and computational logic. This fusion is not only redefining artmaking but also actively influencing the trajectory of visual culture, altering how we create, perceive, and engage with the world around us.

This exhibition examines the intersections and divergences between natural and synthetic methods of artistic evolution, questioning the reciprocal relationship between human creativity and machine intelligence. It asks what the machine may learn from us and, conversely, what we may learn from the machine, through the artificial perceptions, replications, and transformations generated by algorithms.

As computer cognition emerges, these systems not only reinterpret artistic processes but also challenge our understanding of perception, originality, and the very nature of creative thought.

Another key element of this exhibition is a pair of edited video reels featuring artificially composed sound, offering a glimpse into the computer’s evolving creative process. These videos document the AI’s attempts to learn, adapt, and refine its outputs, showcasing the machine’s struggle to interpret and resolve the final images. As the algorithm works to match the artist’s forms, lines, and colors, it generates a dynamic, ever-shifting visual dialogue—revealing both the limitations and possibilities of machine-assisted creativity.

Venues:

Exhibitions

SP/N GALLERY                                                                                                                               Dallas, Texas, Feb 7-Apr 25, 2026
Organic Worlds: Symbiogenesis in Art presents the World wide premiere of Symbiogenesis, and Anicca Antennae-Soil as Brain; robotic beings, as avatars to insects, soil and bacteria as well as The Evolution of Information = Life, Organic Murmurations, 1-SIGN, 3 Story Robots 3D Animation, a two person exhibition with Amy Youngs. Invited commissioned by Professor Dr Charissa Terranova. 

934 GALLERY                                                                                                                   Columbus, Ohio, Nov 21- Dec 13, 2025
Showing Synthetic Evolution prints and videos, Organic Murmuration prints and videos  Invited by Gallery Staff.

Museo d’Arte Moderna Ugo Carà                                                                                      Muggia, Italy, Sept, 21 2023
ROBOTICS; ARTE E ROBOTICA invites the Italian premiere of the Synthetic Evolution prints and videos  new renditions and world wide premiere of the Anthropogenic Slot Machine and  curated by Maria Campetelli.

FORT HAYES GALLERY                                                                                    Columbus, Ohio, US – March 13-April 22 2023
Flow: visual interpretations on the theme of water invites Synthetic Evolution AI prints and video, curated by Teresa Weidenbusch

HOPKINS HALL GALLERY                                                                                                     Nov 6-13, Columbus Ohio, 2023
Curator and Participant in the Synthetic Sublime Exhibition of current and emeritus Art and Technology faculty, Graduate Students, and staff in the Department of Art at The Ohio State University.

UNIVERSITY OF YORK                                                                                        York, England, 14-16 December 2022
Artist residency at the Leverhulme Centre for Anthropocene Biodiversity, showing Synthetic Evolution works curated and invited by Dr. Sarah Bezan and Dr. Peter Sands.

SYRACUSE UNIVERSITY                                                                                          Syracuse, New York, Nov 2022
Bio-Art Mixer presentation of my work and exhibition of three works and videos in the faculty gallery, invited by Professor Boryanna Rossa

THE FESTIVAL OF UNCONVENTIONAL COMPUTING, PROTO-COGNITION, AND SOUND  Bristol, UK, Sept-Oct 2022
Artworks at the edge of arts, science, philosophy, and engineering invite four works from Synthetic Evolution and videos curated by Irina Pretrova and organized by director Professor Adam Adamanzky.

FIG BILBAO                                                                                                                    Bilbao, Spain, November 2022
Centro Portuguese de Serigraphia exhibits the Synthetic Evolution works + the premiere of four new AI works invited by Joao Prates.

ANTONIO PRATES GALLERY                                 Lisbon, Portugal, June 2022-September 15, 2022
A one-person exhibition of Synthetic Evolution inspired by the intertwining of human and machine interactions. Invited by Antonio Prates in collaboration with Centro Portuguese de Serigraphia and Joao Prates.

Tepoztlán, Mexico, is known for agriculture, significantly growing corn (Maize), chili and tomatoes, livestock, and the weekend markets or Tianguis. At the same time, DNA modifications are used on livestock to create artificial spare parts for humans. Corn is under siege with genetically modified varieties, pushing its way into traditional agricultural processes. 

Through artificial intelligence remixes of culture, this series captures these complex times and how a town maintains its traditions, livestock, and agriculture tuned to the environment through generations of farmers while genetic modifications surge elsewhere. 

These artworks are collaborations between the artist and computer algorithms, and they are originals supported with actual DNA to confirm their originality. Creating these algorithmic artworks uses style transfer and language keys to access massive databases online before the artist creates and manipulates these images in real-time after the renders are complete.

In the current craze of NFTs, Non Fungible Tokens confirm the originality of the work; I have chosen to go with a bit of my hair (DNA) and a traditional signature on the back of each piece to verify their authenticity. Therefore, they are DNA Fungible Tokens, and PCR (Polymerase Chase Reactions) can be used to confirm their originality, which is the greenest solution I know.

The City of Indigenous Corn 2020 is an artificial intelligence abstraction referring to the conflation of the remains of the El Tepozteco temple built on top of the nearby Tepozteco mountain and the colorful corn one finds in the region. Rich copper tones in the work reference copper mining in the area.

CRISPR Cas9 Proteins Amino Acids 2020 is an artificial intelligence abstraction referring to the most recent methods of modifying animals and traditional crops. The works clouds speak to the colorful and often dramatic changes afoot.

Flying Cows Birds Jellyfish 2020 is an artificial intelligence abstraction referring to genetic remixing to create new hybrid beings. Fluorescent proteins are often used in the genetic process to identify and manipulate the genes, and flying cows illustrate this moment of new beings arising with floating pink clouds.

Great White Heron Insects Jellyfish Springtails 2020 is an artificial intelligence abstraction suggesting the possible historical basis of the Mesoamerican god Quetzalcoatl and the feathered serpent god worshiped in ancient Mexico.

Great White Heron Tepoztlán three Boxes 2020 is an artificial intelligence abstraction referring to the myth of Tepoztón about a laundress who works in Tenochtitlan. As a form of payment for some work hanging a bell in a church, he receives boxes and is instructed not to open them. However, his curiosity gets the best of him, and he opens and lets the birds out, and they become a symbol of the riches and well-being of the people of Tepoztlán. The Great Egret, Heron Ardea alba, is one of four subspecies of the Great Egret, the only one found in Mexico. It is large and elegant with dazzling white plumage, long black legs, and a long neck with a yellow bill.

Xeno transplantation Pink Cow Udder 2020 is an artificial intelligence abstraction referring to the genetic modification of cows to be more productive. This image has cows hooked to machines and becomes something other than a cow and, in the process, points to the purity and integrity of natural agricultural methods. The work also refers to recent experiments in humans’ breeding animals for Xeno Transplantation.

Land of Indigenous Maise 2020 refers to the rolling hills and agriculture of Tepoztlan and the colorful corn one finds in the region. Rich

copper skies in the work reference the copper oar mined in the area

Genetically Modified Cows 2020 is an artificial intelligence abstraction referring to cows modified to be more productive for milk and

agriculture with green pastures below. These are cows coming out of the fog

Exhibitions

GALERIA CASAS RAYUELA                                                            San Cristobal de Las Casas, Mexico Feb – March 2021
Futurors Impermanentes, Exhibition de Arte NFT en Movimiento curator Axel Cuevas Santamaria

CASAHUILO ART GALLERY                   Tepoztlán, Mexico, Feb 19th, 2022
World-Wide-Premiere of the eight new artificial intelligence and hand-worked pieces focused on the agriculture of Mexico and The Legend of Tepozteco, as well as the ethics of xenotransplantation. + A new Fungible DNA token will be used on each work, contrary to NFTs. Curated by Axel Cuevas Santamaria

In these works, exploded diagrams illustrate the functional organs of biological and machine systems coming together.

These works are diagrams of an emergent systems evolution, created when the microbes and vesicles of cells enter the technology, absorb it, and get enveloped by it. Intertwining elements enter each other and become part of the flow and process of consumer consumption and waste cycles.

Sacs refer to small, sac-like structures within cells or within larger cellular structures. These can include lysosomes, which contain digestive enzymes, or peroxisomes, involved in metabolic processes. Membranes are thin layers of lipid and protein that surround cells and cell organelles, serving as barriers to separate the cell’s interior from its environment. They play an important role in cellular communication and transport of substances across the membrane. Motors are proteins that convert chemical energy into mechanical work, allowing cells to carry out processes such as transport of vesicles and organelles within the cell. They are also machine entities that convert chemical energy for transport of humans and goods. Vesicles are small, membrane-bound structures that serve as a means of transport within; such as proteins and lipids, and can show processes such as exocytosis, where they release their contents to the outside of the cell.

These works endeavor to create a dynamic visual equilibrium to suggest symbiosis between machine and natural elements while fleeting, painful, and transformative will occur.

Parasitism of our machine entities by microbes and other species is one process we have observed. Microbes riding on industrially produced currencies with air flight as their distribution method, finding their way to human hosts, is another. Cockroaches nest inside warm electronics, eating and finding the ideal friendly homes to rear their young, all with easy access via electronic cooling vents. Indeed as cockroaches feast on human scraps, their microbiomes mirror our own. Our industrially produced foods are also suitable for immature cockroaches and reproduce quickly in these ideal environments.

Researchers have discovered that microbes are evolving enzymes of plastic-degrading proteins, enzyme “homologs.” They may behave like an enzyme but may not technically be an enzyme. Scientists have found over 30,000 enzyme homologs capable of degrading ten different types of plastic.

Let’s hope the oil industry does not get a hold of this news to further distract us from removing oil drilling and plastic production while continuing to spew carbon pollution into our atmosphere.

Parasitism and exploitation of our natural living world by industrial-strength machines and their chemical and gaseous outputs are the most explicit extinction pressures for all species, including ours.

Plastic waste infuses itself into every corner of our natural environment. Pharmaceuticals are flushed and enter our aquatic spaces mutating fish to be more feminine. Human damming of rivers wonderfully creates power for human civilization though sadly, it stops salmon runs. This results in the starvation of the forests of fish and insect proteins. Who would know the connection between our electricity use, overfishing of salmon, and the starving forests for nutrients?

Our engineering has advanced too quickly, and machines for felling trees for wood harvest kill other species while unraveling the webs of life.

Another web is emerging in the Sacs, Membranes, Motors, and Vesicles series.

Life is adaptable and will always find a niche somewhere in the machine. The places where dust collects on fans and wires promote particular kinds of crystallized growth. Electronics invite insects and spiders to create new selective pressures and forced symbiosis as machines and life painfully intertwine. Bacteria and molds find perfect refuge in the moist spots in our machines.

Given these selective pressures, accidental symbiotic interdependencies between living beings and machines may arise over time. They may become parasites at first to things like heat, though eventually, they may find a mutualistic relationship.

In a strange twist of fate, the cockroach babies find the perfect nesting spot, warm electronic nurseries, where the cooling vents are ideal doors. I discovered this in my old wall telephone in NY. When the phone rang, the young cockroaches would go running.

While living beings are occupying the machines, for the most part, they are overwhelmed and dominated by machine aftereffects.

However, living things find refuge in the machine, especially bacteria, and microorganisms seem to have complete comfort. They can quickly mutate and adapt, making them perfect inhabitants in machine worlds. It has been discovered that microbes with lateral gene transfer have been able to “breathe” rocks with extracellular electron transfer (EET) and other materials outside their cells.

The ideas of Lynn Margulis, where one thing invades another in her now well-accepted theory of endosymbiosis, seem almost violent. However, it tells us how things will move with life invading our machine worlds.  The optimal, genetically mutated being will be conceived and born in a future garbage dump. Gases spewing from rotting vegetables will fuel new forms of plastic-eating fungi, viruses, bacteria, and living systems. Yet that is happening here, as the machines insert themselves into our living systems. EET-capable microbes are already being looked at in aiding in toxic waste cleanup as an alternative energy source.

Endosymbiotic processes have already created a successful consortium of bacteria and human cells. The machine cells mixing with the bacterial cells produce a new network. We have two pounds of bacteria in our stomachs that help digest our food, yet I have at least a few thousand pounds of machine cells that are also my extended memory, remote sight, and ears, intertwining and connecting around the world.

There are many examples where living systems are forced into the organized systems of the human world. Agriculture is perhaps the most significant example where we machine control, form and genetically engineer, and create animals and plants of our desire. If the machine becomes the parasite and overwhelms life, our own lives will seem seriously curtailed. The ultimate question in the parasite-host and subject relationship is who the dominant being is.

Our new emerging species and our algorithmic intelligence give us a transcendent way of knowing and understanding.

There is little doubt that this form of consciousness is emergent. It is not consciousness as we imagine it.

Still, if our matter, energy, and information spaces push our minds and conceptual frameworks in particular directions, we need to fear this artificial intelligence.

What are the mutualistic relationships between the machines and existing living systems? Zoos, meat slaughtering, and agricultural systems are all a kind of mutualism, yet they exert selective pressures on all species.

The selection of certain monocultural crops, like corn or wheat, that can be easily harvested impacts the death of our soils and, in the end, the health of our microbiomes and microbial diversity in our guts.

So it will tend to favor animals and insects entering machines and cities. Bacteria and viruses that can laterally transfer their genes will find favor in this new world.

It will also promote the most adaptive urban species, such as rats, mice, cockroaches, cats, and flies, that can comfortably inhabit these machine spaces.

To find a more gentle symbiosis between machine, human, animal, insect, and microbial species, we need to study better the complex intertwining our techno-driven cultures promote.

I would rather be a symbiont with technological systems than feel I am their prey and host.

Exhibitions

SP/N GALLERY                                                                                                                               Dallas, Texas, Feb 7-Apr 25, 2026
Organic Worlds: Symbiogenesis in Art presents the World wide premiere of Symbiogenesis, and Anicca Antennae-Soil as Brain; robotic beings, as avatars to insects, soil and bacteria as well as The Evolution of Information = Life, Organic Murmurations, Sacs, Membranes, Motors and Vesicles, 1-SIGN, 3 Story Robots 3D Animation, a two person exhibition with Amy Youngs. Invited commissioned by Professor Dr Charissa Terranova. 

FORT HAYES GALLERY                                                                                    Columbus, Ohio, US – March 13-April 22 2023
Flow: visual interpretations on the theme of water invites Synthetic Evolution AI prints + one from the Machines, Motors and Vessicles Series and video of AI works morphing hand made drawings curated by Teresa Weidenbusch

ANTONIO PRATES GALLERY                                Lisbon Portugal, June 23-Sept 15, 2022
The Worldwide Premiere of collages and drawings inspired by the intertwining of human and machine interactions. Invited by Antonio Prates in collaboration with Centro Portuguese de Serigraphia and Joao Prates.

The film and artwork urge us to imagine how urban signs could more effectively communicate the interconnectedness of technology, climate change, rising sea levels, and natural disasters. These issues are intricately linked, yet rarely highlighted in the signage that fills our cities.

“SIGNS” pushes the boundaries of informational spaces, advocating for signs that promote social justice, question the pervasive collection and sale of our personal data, and alert us to the potential infringement of our rights through everyday consumer choices.

The film and artwork invite us to envision signage that prompts deeper reflection on societal issues and the pervasive impacts of modern technologies.

With their potential for immediate and impactful communication, signs can reconnect us to an ancient, pictographic understanding, transcending language barriers to convey universal messages.


Drawing on Eduardo Kohn’s insights in “How Forests Think,” the film posits that signs are not mere passive indicators but active prompts for present action, hinting at future consequences.

“SIGNS” invites viewers to scrutinize the messages missing from our daily landscape and question whether the signs around us genuinely serve the public good by warning us of unseen yet impending dangers. It’s a call to rethink the role of signage in our urban spaces and demand more from the information we encounter daily.

SIGNS ARE INTERPRETATIONS THAT TRY TO JUSTIFY THEMSELVES AND NOT THE REVERSE.

• Michel Foucault, Nietzsche, Freud, Marx.

We often hear, “Driving is a privilege, not a right.” Breaking the rules and ignoring signs can lead to costly tickets, jail terms, and even death. There are immediate dangers, like entering a rail crossing when a train is coming, and long-term risks, such as those posed by smoking, which takes the lives of half of all smokers.

What about signs that warn us of inevitable doom because of car usage and polluting carbon output? What about signs that think more systemically, examining the relationships between global warming, sea level rise, and hurricanes? What about signs that express solidarity, seek social justice, and warn of the potential infringement of our rights through everyday products and facilities?

This begs the question: What signs are we not seeing? Do signs in particular contexts serve the public good by highlighting real future dangers that are not immediately apparent?

These are the signs that warn of less visible present and future threats. While scientists are certain that CO2 leads to global warming and increases hurricanes, signage can make this more apparent with graphics illustrating the dangers. Greenhouse gases, emitted from the tailpipes of cars and trucks, act like a toxic, dirty blanket around Earth, trapping energy in the atmosphere and causing it to warm. More heat means more dangerous hurricanes and tornadoes.

Consider this: oceans absorb the heat equivalent of seven Hiroshima nuclear explosions every second. Signs can communicate this alarming fact alongside more familiar road signs.

Signs are ubiquitous, found on roads, in churches, and in stores, each with design characteristics that give them authority, especially within urban zones. They are part of information and knowledge management, aligning with epistemology and equating the right to post a sign with authority. We are aware of these dangers, though sometimes we are not. 

This is especially apparent with surveillance technologies, which often yield poor results that disproportionately impact BIPOC people. Shouldn’t we have signs warning the public of the dangers of algorithms used to label individuals as more criminal or suspect based on biased data sets? 

Phrenology, which used the shape of one’s head to predict criminality, has been discredited, yet we continue down similar paths with biased AI.

Commercial signage fills our cultural landscapes, influencing social beliefs while invoking state-based authority.

Regretfully tech companies have promised governments that artificial intelligence (AI) can identify criminal behavior. Even schools have gotten into looking at children’s faces and sanctioning them for not paying attention by looking at eye gaze if a child is daydreaming and climbing into imagination, then that must be promoted rather than focusing on standardized lessons.

It is clear now that artificial intelligence algorithms have biases built into them, given the data sets are often constructed with the biases built in. However, we continue to go down these roads, beckoning an earlier time when phrenology was thought to offer some way of understanding and predicting behavior based on nothing more than the bumps on and shape of one’s head.

In the new physical reality, the distinction between virtual and real is diminishing as our cars and roads save and sell our data. With “smart cars,” the line between transportation and computers is blurred.

Driving a car now means agreeing to terms of service that include data collection, updates, and sharing your data. Most cars collect vast amounts of data, including GPS location, speed, safety system status, and even voice data, often without explicit consent.

When we drive, simply using the car we are operating, creates a need to accept the terms of service. This means agreeing to live, downloaded updates, or share your data, whether you agree to these downloads or not.

For most cars, the event data recorder (EDR) data, the computer inside the car stores your GPS location, speed, airbag deployments, crash avoidance alerts, impact data, safety system status, braking and swerving/cornering events, seat belt settings, vehicle direction (heading), audio or video information such as information collected from camera images and sensor data and yes voice. The car can collect as much as 25 gigabytes of data per hour, know how much we weigh, and track how much weight we gain.

There are always terms of service online, and how can we even agree to data collected, aggregated, and sold by car companies?

Given cars and their data collection, let us not forget that Dave, the founder of Wendy’s, died at 69 after a long battle with liver cancer.

When you consume fatty or fried foods and pile on the salt, your liver is literally under attack. Let us not forget the poor cows or chickens that get sucked into our industrial food system. The combined total of chickens (19 billion), cows (1.5 billion), sheep (1 billion), and pigs (1 billion) living at any one time are three times higher than the number of people on the planet.

Fifty billion chickens are slaughtered for food yearly – a figure that excludes male chicks and unproductive hens killed in egg production. Nearly 1.5 billion pigs are killed to feed the growing appetite for pork, bacon, ham, and sausages – a number that has tripled in the last 50 years.

Half a billion sheep are taken to slaughter every year. The number of goats slaughtered overtook the number of cows eaten during the 1990s, although the figure for cattle excludes the dairy industry. The environmental cost of our growing appetite for meat is alarming, given the rainforest is now one of the prime locations cattle producers look to satisfy our insatiable desires for beef.

Agriculture is responsible for 10-12% of greenhouse gas emissions. We must also not forget that eating plants, insects, and any living thing are violent to that entity.

Perhaps other signs that have one consider the nature of eating meat or the pure act of eating and what a violent act can be may also help humans understand their complicity in those acts.

We may confront producing meat on factory farms or consuming monocultural potato crops in fries and eating at such restaurants through the intelligent placement of these signs near to where humans consume. Would you eat burgers daily if you knew that one tree was felled in the Brazilian Rainforest? 

Fonts and colors are essential to communicate things like a global warning, danger, or demarcating direction. Color permits the signs to stand out from their background and be more effective with the light reflected off of cars or bike headlamps, further giving them an illuminated power for high-contrast and high legibility.

Given all the pollution poured into our atmosphere each year by the car and truck industry, we also need to have a sign reminding us that the oceans, which absorb the most carbon on earth, produce the most oxygen.

Of course, we are sharing breath with the algae, and we are sharing breath with other humans and animals as well.

As we are driving, we are often also in a state of self-reflection, finding faces in clouds, and what better opportunity to find out what is on your mind than by taking a quick Rorschach Sign Test?

This makes me wonder when we will have drive-through psychiatrist meetings with drive-in hookups that sit on our windows. One could just recline their driver’s seat and have a drive-in movie-style speaker mounted to their window.

Still, before these become standard as drive-through convenience stores, we may just have to let our imaginations go while driving in the quietude of our vehicles.

We have speed traps, and what about mind traps that lead us down neural paths of thought we may not intend or feel comfortable traveling on?

Police can use breathalyzers and speed traps to identify and prove your crime. In the future, we may have portable MRI units to see where your blood is rushing. Let’s hope that is not coming to a TESLA car soon.

Today we have RORSCHACH SIGN TESTS to see what you are thinking – but will you tell us?

In this sign series, I use an alternative model that democratizes the production and exchange of information, with warnings to the public for the public good.

They take a medium controlled by city officials and subvert the use of signs into one that

supports education and our urban communities. This enables knowledge sharing and direct participation.

Then some signs warn of election meddling, and the whole host of new laws that may suppress all from voting.

Let us hope we do not return to that international nightmare. However, we must remember it is our “supreme court” and the misnomer of “citizens United”  where the court’s ruling freed corporations and unions to spend gobs of money on “electioneering communications” and to advocate for the election or defeat of candidates effectively drowning out individual and collective voices of citizens.

My goal with these artworks is to expose a policy, examine authority, and establish accessible technological opportunities that allow knowledge dissemination for the common good.

This helps inform ways and approaches to enable the social and community appropriation of knowledge and communication technologies for local information, production, discussion, and exchange.

When you enter a church, for example, that conjures the figure of MOTHER MARY and appeals to guilt to obey GOD, are you questioning if what you are being told is an immaculate conception or maybe more so an Immaculate Misdirection?

Should guilt be a part of a social strategy to control behavior?

We can also place signs in gallery contexts, and they can speak with the same authority we are used to seeing on roadsides. Of course, if you took the Rorschach test above, perhaps you were thinking of some things that had to do with the computer relationships you have been having?

Algorithms make fine friends for that dopamine rush we get with Facebook Likes. Though are we “ALONE TOGETHER,” as MIT technology and society specialist Sherry Turkle argues.

While there are mental influence signs and how they can help query and diagnose your thoughts in the privacy of our bikes or cars, there are also signs appropriate to the global circulation of human dust and breath. This is significant in the COVID-19 moment, and the global pandemic, where we are afraid to breathe, and everyone can be seen as a vector of the virus.

Re-contextualizing these into the gallery environment is also fun. They seem to carry the same authority of speaking words with the power of color, icons, and tightly reflective materials. And let us not forget that airplanes were one of the primary ways the Covid virus was spreading internationally.

What about cell phone use and children. I am forever annoyed to seeing humans ignoring their children and focused more on their cell phones.

We can also mix signs with other roadside paraphernalia. Warning cones also represent ways to speak loud and colorful messages. Combining things like dust mops (suggestive of bacteria) or natural human hair with the two signs below creates new associations.

It also tells us that we must surrender to the tiny microbes in our stomachs and skin to create the ultimate group-consciousness moment.

String theory and quantum electrodynamics surmise that there are eleven dimensions, though, in Newtonian space, we have three.
What a bummer if, while driving, one of those 3rd dimensions collapses. It could ruin your engine and your whole day.

And then some signs reference the play of language below.

All signs are 12 x 18 inches mounted on aluminum, with weather-resistant reflective vinyl.

All signs are 12 x 18 inches mounted on aluminum, with weather-resistant reflective vinyl.

Mounting holes are drilled into aluminum, though do not perforate the vinyl until you choose to hang them, with hardware supplied with each order.

Signs are available for $200. each, or two for $150. each or three at $125 each, as part of this unlimited edition. Shipping will be calculated and varies based on your location.

Shipping to CA is about $20. from Ohio. To calculate your shipping costs, please send me your address to kenrinaldoATgmail.com.

Hardware is available to hang signs at $2:50 for two.

Collections

CAMERON ART MUSEUM,   Wilmington, North Carolina Algae Sign

CULTURAL ARTS BUILDING GALLERY   Wilmington, North Carolina

They are available in larger sizes, and ask for a quote if interested.

Obey all local laws in posting your signs, please!

Ken Rinaldo Concept, words, location photos, and signs Layouts and Illustrator work

Emergent Systems:

Ken Rinaldo: Illustrator and photoshop production
Trademark Gunderson: Illustrator and photoshop production

McDonald’s is most skilled in using signs and symbols to sell its products. This makes them particularly effective at selling their goods, but have we questioned the impact on our bodies and the collective global body?A good deal of beef consumers may not be aware of the extent of global warming, degradation, and killing of the rainforests by just eating that burger and fries.

Additional Exhibitions

LIGHTWELL GALLERY                                                                                                   OKLAHOMA, August 24-Sept 18, 2026
Exhibition on plant communication invites the the two works from the SIGNs Series. Curated by Haley Prestifilippo 

SP/N GALLERY                                                                                                                               Dallas, Texas, Feb 7-Apr 25, 2026
Organic Worlds: Symbiogenesis in Art presents the World wide premiere of Symbiogenesis, and Anicca Antennae-Soil as Brain; robotic beings, as avatars to insects, soil and bacteria as well as The Evolution of Information = Life, and You are AS much Bacteria as Human cells SIGN invited by Professor Dr Charissa Terranova. 

WEXNER CENTER FOR THE ARTS                                                                                                 Columbus, Ohio. April 19, 2025
SIGNS as part of the Ohio Shorts Film Festival by Wexner Center 6:00 PM in film video theater.

ART IN ODD PLACES                                                                                                                       New York, NY, Oct 18-20, 2024
CARE 14th street Festival showing select SIGNS and New York premiere of the film SIGNS invited by curators Patricia Miranda & Christopher Kaczmarek. Founded by Ed Woodham.

CLIMATE FILM FESTIVAL                                                                                                               New York, NY, Oct 18-20, 2024
The New York Premiere of SIGNS curated and organized by Alex Turnbull

THE TELLURIDE  INSTITUTE                                                                                           Telluride Colorado, July 26-Aug 2, 2024
The Nature of Information: Exploring the nature of difference that makes a difference. World wide premiere of the film SIGNS invited by Richard Lowenberg

CAMERON ART MUSEUM,   Wilmington, North Carolina, Jan 27-May 2022
Confluence Exhibition curated by the Algae Society and Gene Felice invites the work SIGNS, including a worldwide premiere of a sign on Algae and the work Diatomaceous.

THE UNIVERSITY OF NORTH CAROLINA, Wilmington, N Carolina, Feb 2022.
Exhibition and visiting artist presentation of  SIGN works. Invited by Professor Gene Felice

CULTURAL ARTS BUILDING GALLERY   Wilmington, North Carolina, Jan 30- 2022
Protest Signs: Projected Voices in the Community curated by Dr. Travis Williams. The exhibition invited by Gene Felice, the SIGNs works, Racial Bias Algorithm Ahead, We are As Much Bacteria as Human Cells, Are you an Individual? Global Warming Ahead, You Breathed at Least One Molecule + Visiting artist presentation Invited by Professor Gene Felice.

They are small and mighty!

Ancestral entities.
Terrestrial traders in food.
Unifying all that is living.

Absorbing all that passes.
Educating our immune systems,
so we may run.

We owe them everything!

They feed us with their waste.
They protect our bodies as little warriors.
They make oxygen,
so we may breathe and sing.

On our tongues, they taste.
On our bodies, they shield.
In our cells, they energize.

They unify all living things,
humans, fish, plants, and fungi.

They seed the clouds bringing rain,
river, and sea.
So roots, leaves, and stalks can sprout.

They make our bread, cheese, and wine
so we may eat and laugh.

They offer the miracle of digestion,
so we may dance and see.

They are the unsung heroes of times past
that have symbiotically joined with us.

We are them, and they are us.

The microbes.

By Ken Rinaldo

These works are collages created with permanent markers, colored pencils, and markers. Most of the magazine was from an Art Institute of Chicago alumni publication sent to our home of teaching and graduates of the Art Institute of Chicago.

Images that occurred on each page were suggested extensions of the picture. The iconography is biomorphic and suggestive of microbial life.

Forms appear to communicate with others through chemicals and pass information from one to the other.

Many are forming feet, wings, or branching extensions characteristic of some bacteria or fungi. They appear to suggest relations between different dimensions and perspectives, creating sense

images that appear to be windows into worlds that come back to the surface of the page with the drawings. Each work is completed on 8 1/2 by 11 acid-free drawing paper.

Some suggest human or animal forms, while others have surfaces and colors which are architectonic in their approach.

I enjoyed playing with color in these works and composing a poem about microbes, fungi, bacteria, and archaea covering all and a part of our survival.

Exhibitions

GALERIA DEL GRABADO                                                                                                                 Matanzas, Cuba, 2023
Cartas de Cuba A multi-venue exhibition invites work from the Immaculate Organicism series drawings. Invited and curated by Michael Reese. 

ANTONIO PRATES GALLERY                                                                                                      Lisbon Portugal, June 2022
A one-person exhibition of new works inspired by the intertwining of human and machine interactions. Invited by Antonio Prates in collaboration with Centro Portuguese de Serigraphia and Joao Prates.

LOANN CRANE GALLERY GCAC                                  Columbus, Ohio, Aug – Sept 2022
Cartas de Cuba A multi-venue exhibition invites one work from the Immaculate Organicism series drawings. Mantanzas ~ ~Cienfuegos ~ Camaguey, Cuba, Columbus, Ohio ~ New York City, New York. Curated by Michael Reese.

Collections

The Hilton Hotel, as part of the Cartas de Cuba Exhibition curated by Michael Reese

Joao Prates, Lisbon Portugal

Antonio Prates, Lisbon Portugal

Joana Pitta, Lisbon Portugal

Vanda Oliveira, Lisbon Portugal

Luis Azevedo, Lisbon Portugal

Rui CPS, Lisbon Portugal

]]> https://www.kenrinaldo.com/portfolio/automatist-human-drawings/ Fri, 25 Oct 2019 16:44:30 +0000 http://www.kenrinaldo.com/?post_type=portfolio&p=2762 Read More]]> Automatist Human Drawings are free improvised, semi-conscious drawings created with Pigma Inks on paper. They reflect associative imaginary spaces, lines, forms, and rhythm. As I was drawing these, I was enjoying the fictitious narratives that were coming to mind reflecting an interest in communication and interaction.

They are part of an ongoing practice I have had for 30 years, often as a relaxation from more technical art pursuits.

After I created 73 of these drawings, I made them into a digital coloring book for further development and the addition of color.

The works are on display at the Urban Arts Space in Columbus, Ohio, in 2019.

Automatist Robot Drawings 2010 are from custom drawing robots invited and commissioned by the Universidad Tres Febrero in Argentina in 2010 — created on-site in Argentina by deconstructing and reconstructing bump and turn robotic toys.

I attached pens and allowed gravity and the constraints of a gold frame to limit their wanderings in these mindless machine automatist drawings. At the exhibition at the UAS, t was fun to juxtapose these robotic drawings with more imagistic approaches to human drawings.

Ken Rinaldo artist

Exhibitions

ANTONIO PRATES GALLERY                           Lisbon, Portugal, June 23-Sept 15, 2022
A solo worldwide premiere of the exhibition Synthetic Evolution works using artificial intelligence software to evolve original drawings inspired by the intertwining of human and machine interactions. Invited by Antonio Prates in collaboration with Centro Portuguese de Serigraphia and Joao Prates.

THE URBAN ART SPACE                                                                                               Columbus, Ohio Oct-Nov 2019
Faculty of the Department of Art exhibition showing the 3D animation of the Continuous War Train, the worldwide premiere of the Maximum Frustration Compressor & Automatist human and machine drawings.

They are dimensional and flat simultaneously, printed on Arches printmaking paper.

They are experiments in order and chaos, and the ones I find myself most attached to are the ones that I could not wholly control, where the filament thread gets smaller and spirals in unplanned directions.

Some drawings were created by scanning existing photos, creating depth maps in Cinema 4D software, and then letting the rapid prototyping printer do the printing.

In the spirit of John Cage, I enjoyed the chance operations that would result from scans, 3D morphogenesis, and printing.

In the one below, Jean Auguste Dominique Ingres, La Grande Odalisque, 1814, Louvre, Paris, France, was scanned and repainted after the fact.

In the one below, 3D humans were created, collapsed, and printed. I was particularly interested in how the one below gave the appearance or suggestion of a peg leg, and love the wispy piece of black filament that moves toward the top of the frame.

In the one below, I enjoyed how the dark lines of the printer enunciate the figure within, and the infill that is naturally part of the 3D printing process lends itself to paying homage to Piet Mondrian, though more so, they seem to suggest the human figure is being compressed into a cartesian space.

Some machine drawings were allowed to go longer, allowing more infill, as in the one below.

They fulfill a long-standing philosophy about looking to the edges of machines for places where artistry can be found by misusing the tools.

By Ken Rinaldo

Studio Assistant Danner Seyfer Sprague.

Printed on a Type A Machine with PLA plastic.

The opening celebration for the residency was fantastic, and the music was stunning.

A family band called La Vieja El Cayuco Son Jarocho was playing, and they had the crowd feeling warm and connected.

All were displayed in the Concina de Humo Gallery, Federico’s mom’s smoke kitchen turned into a gallery. I LOVE Mexico and the culture.

In the Collection of the Rasquache Residency in Coapa Mexico

In the Collection of the Artist (3 prints framed)