Just for a Little While

Maybe for a Little While is a cinematic piece built around a cryptic dialogue between a man and a woman, suggesting the transformation—real or symbolic—of one of them into a monster.
Set against the backdrop of a dark, apocalyptic city, the work feels like a fragment from an imagined film, suspended between memory and prophecy.

Panaviscope combines early AI textures with cutting-edge techniques to craft a narrative space that invites the viewer into a state of catharsis.
The haunting soundtrack, rooted in trance, reinforces a sense of tension and ambiguity—leaving viewers with the desire for a story they can’t fully grasp, yet deeply feel.
Music by Panaviscope

Daily Program / Season #2

Flow State

This piece was created at the beginning of my exploratory project Fragments and depicts a man doing graffiti in the famous London tunnel, Leake Street Arches. The footage was captured by me on 13/09/2025 at 21:10.
Original

Violin

This piece is part of a sub-series within Fragments in which I focus on street performers, aiming to create one artwork for each musical instrument. In this case, the subject is the violin. The footage was recorded during a meaningful trip to Edinburgh with my parents, on 25/09/2025 at 13:50.
Original

Seasonal

This piece was created as a reflection on the change of seasons and the way nature continually shifts its appearance. It captures a stranger walking in front of me as I crossed one of my favourite parks in Harrow, where I live. The footage was recorded on 25/10/2025 at 14:01.


Garden

Garden is part of my ongoing series filmed in the park where I live in Harrow. Despite its simplicity, the place acts as a quiet refuge, a space where people momentarily step away from everyday life to reconnect with nature. The piece follows two figures, a woman running (my mother) and a young man walking his dog, capturing the subtle beauty of ordinary movement. Closely connected to Seasonal, the two works were recorded only minutes apart. Garden was filmed on 25/10/2025 at 14:03.

Original

I am beautiful

"I Am Beautiful" is a brief visual poem on vanity and the instability of self-image. The work emerges from the friction between several AI generators, combined LoRA models, and intentional parameter shifts that introduce small deviations. Instead of restoring coherence, I follow these deviations and assemble the resulting fragments into a brief sequence of provisional masks. The work suggests that beauty and ego are not fixed traits but temporary and empty configurations shaped by relational emergence.
I've done all the audio with Eleven Labs

Strangers

Strangers is a visual poem generated through a layered dialogue with multiple AI models. I combine different systems, mix LoRA files, and alter parameters in ways that often produce unstable transitions. The piece unfolds as a continuous morphing sequence, where forms appear only long enough to transform again. Distortions, glitches, and stylistic collisions are accepted rather than corrected, allowing intention and accident to coexist. The result is an oniric movement through temporary identities that surface and dissolve in relation to one another.
I've done all the audio with Eleven Labs

Idols 1

Idols 1 is the first piece of a triptych of visions co-produced with AI. The work translates moments of intensity like ove, communion, or brief spiritual clarity into unstable visual forms. Using layered models, mixed LoRA files, and intentional parameter shifts, the piece embraces glitches and divergences as part of its meaning. The result is a sequence of epiphanies where the sense of self loosens, revealing both darkness and joy in the emergence of shared, temporary “idols.”
I did all the audio with Eleven Labs

Idols 2

Idols 2 is the second piece of the triptych, shaped around the interplay of love and "dukkha" (suffering). The work emerges from visions co-produced with AI, using layered models and parameter shifts that generate fragile, luminous deviations. The sequence reflects states where tenderness and discomfort coexist, revealing a form of wounded radiance. The piece follows the same generative method as the others, embracing errors and drift as part of its emotional structure.
I did all the audio with Eleven Labs

Idols 3

Idols 3 is the final work of the triptych, centered on the images that shape identity. Co-produced with AI through layered models and intentional drifts, the piece reflects how the self emerges from reflections of reflections; memories, projections, and impressions inherited from others. Glitches and deviations reveal the instability of these images, suggesting identity as a field of relations rather than a fixed form.


Insects

Insects is a visual poem built around a short rhyme developed with a language model. The piece reflects a stage of meditation in which thoughts drift like small insects, appearing and dissolving without resistance. The visuals are generated by combining different AI models, mixing LoRA files, and allowing glitches and deviations to shape the result. The work follows the quiet rhythm of wandering attention, turning technical accidents into part of its internal movement.
I did all the audio with Eleven Labs

Bedtime

Bedtime is a visual poem inspired by Zhuangzi’s butterfly and the fragile boundary between dreaming and reality. The piece began from an accidental prompt, an unrelated line about a k-way jacket, which became the seed of the work. Through mixed AI models and intentional drift, the images explore reality as a shifting field of reflections. Glitches and misunderstandings echo the uncertainty at the core of Zhuangzi’s parable, turning the accident into part of the piece’s meaning.
I did all the audio with Eleven Labs

Funny things

Funny Things is a visual poem created through mixed AI models, conflicting LoRA, and welcomed errors. The piece reflects on fear and the quiet presence of conflict, using humor and distortion to evoke a sit-com-like nightmare. Glitches, useless gestures, and artificial creatures reveal how anxiety reshapes perception, turning technical errors into part of the emotional texture of the work.
I did all the audio with Eleven Labs

Hamlet

Hamlet is a visual poem reflecting on how generative AI is reshaping performance and cinematic language. The piece explores figures that “act” without actors — echoes of gestures shaped by both human prompting and machine interpretation. The work considers the future of fiction at the boundary between presence and simulation, where creative possibilities expand even as traditional roles shift.
I did all the audio with Eleven Labs

Alice Wonderland's Dream

A modern retelling of a classic, like a morphing fever dream
Uno Particular

Follow The Experts

An era with an abundance of experts telling humanity how life should be lived
Uno Particular

Are you paying attention?

An unsubtle short comment on the current all-time high admiration for plutocrats


State Of The Arts #1

Art in an era of looming catastrophes, even for art as we know it
Uno Particular

State Of The Arts #2

The hand trying to find its place in a crumbling art world
Uno Particular

Mumbling in the ocean

Your things surround you while you mumble in the ocean. Try to relax. Everything is normal.
Uno Particular

Still Life

New ways to relax in an everchanging world
Uno Particular

MUSIC VIDEO I MADE FOR MY UNCLE'S BAND

This work carries a deliberate ambiguity. Titled it as though it were a music video for my uncle’s band, though neither the song nor the band are truly present. This slippage between fact and fiction, between what is real and what’s imagined, is part of the pleasure of working with AI tools. It opens a space where contradictions coexist, but authorship, context, and meaning remain fluid.
What interests me is this tension between the obvious and the uncertain. AI allows me to explore the boundaries of truth, invention, and play, and to create works that embrace the instability of both image and narrative.
ABCDJ

BEST FRIEND

Best Friend unfolds as a gesture of gratitude to friends, family, and lovers. It drifts between the intimacy of a dream and the watchfulness of a surveillance state, where moments feel at once private and exposed.
The work lingers in the paradox of tenderness and unease: a romantic celebration of the fleeting, as if no one is watching, yet preserved with the weight of permanence. Rather than looking back in regret, it honors the fragile beauty of presence, inscribing ephemeral encounters as though etched in stone.
ABCDJ

MANZANITA

Manzanita is an instrumental work composed with AI. An experiment that carries the intimacy of a home-recorded demo while revealing glimpses of its own potential. For the video, I turned toward a 2D paper cutout stop-motion aesthetic, weaving in motifs of Western culture and casino iconography.
At its core, the piece reflects both the possibilities and the unpredictability of AI. A prompt can bring us close to what we imagine, yet rarely delivers exactly what we imagine. The process feels like chance itself like spins of a slot machine, where luck and intention meet.
Manzanita stands among the most evocative AI compositions I have worked with to date. It opens a space for experimentation in sound and visual language. It points toward future explorations of this hybrid, dreamlike style.


GOLDEN BABY

Golden Baby drifts through scenes of the American West reimagined as icons of devotion: the corner gas station at dusk, a cluttered bedroom sanctuary, headlights stretching endlessly down the freeway. The familiar places take on the shimmer of the sacred. Ordinary and divine.
An ode to the hopefulness of new love, where reality melts into the sublime. A bubblegum-pop ditty where emotion and illusion blur into surreal tenderness.
ABCDJ

TOXIC MAN

Toxic Man is a searing pop-art critique of superficiality, rendered through the lens of AI video. This work presents a hyper-saturated vision of LA through romance, driving, and shimmering swimming pools only to dismantle it.
We explore the world that’s desperate to remain "pretty," through tireless maintenance. On its’ surface, scenes are comprised of romantic tropes. Couples in cars, bathtubs, scenic drives, and glamorous parties. Witnessing the disintegration of the "good life." By utilizing AI’s tendency to hallucinate, we expose the fragility of the image. The "Toxic Man" is not merely a character, but the culture of surface-level perfection itself. A beautiful, rotting simulation of keeping up with the facade.
ABCDJ

CREATIVE COMPROMISE

Creative Compromise presents a hypnagogic exploration of synthetic nostalgia, finding the line between home video footage and the uncanny ai hallucination. Visually anchored in the iconography of the cinematic mythology of Los Angeles, the piece imagines a familiar dreamscape of palm lined boulevards, red convertibles, and neon nocturnes.
The narrative creates a sense of anemoia, for a time that never quite existed. Vignettes of couples and wanderers that feel pulled from a photo series of late 90s youth culture zine, yet they remain distant and impenetrable.
Accompanying the visuals is a bedroom-pop ballad. The lyrics "Run away, don't look back... our song was pretty good" reinforce themes of fleeting youth and the impossibility of returning to a past that perhaps never existed. The architecture of memory.


Forms in Presence explores geometry in the world around us — the subtle rhythms, hidden connections, and coincidences that appear without planning.
Sound by Elena Lazutina

● ● ●

Forest for the Trees

The title references the difficulty of examining details closely while also stepping back to see the whole. The scene suggests an alien landscape with strange physics, paired with audio inspired by analog tape music.
Generated with Udio, edited in DaVinci Resolve

Redefinition

Vertical bars form the sorceress and ball, recalling monospace typography arranged in columns. Text-like fragments drift downward, representing a transition from text art into video work that incorporates typographic elements. The music floats and falls with the ball's motion.
Generated with Udio, edited in DaVinci Resolve

Touch Typing

The title refers to the disconnect between actions that were once physical but are now digital. We still use an hourglass to represent “time,” even though we rarely use hourglasses to keep time anymore. And we still use the word “keyboard” when it’s on a touch screen, despite the lack of physical keys.
Generated with ElevenLabs, edited in DaVinci Resolve

Crystal Lake

A quiet summer evening on the shore of a calm, moonlit lake. A graph forms the horizon line, resembling cliffs or dunes on the other side of the water. Scattered numbers twinkle in the sky like stars.
Generated with ElevenLabs, edited in DaVinci Resolve

Ruled Surface

Numbered lined segments form the tracks of an infinite roller coaster.
Generated with ElevenLabs, edited in DaVinci Resolve

Sub-bass

A glowing fish swims in loops through a subaquatic landscape of sound.


Clavilux

Light and sound moving independently, instead of depending upon each other. Named for Thomas Wilfred's 1919 instrument for performing “lumia,” the art of light in motion.
Generated with Udio, edited in DaVinci Resolve

Storm Cell

Instability becomes the glowing engine of elevation.
Generated with Suno, edited in DaVinci Resolve

Space Dandelion Beach

A beach on an alien planet, where the landscape repeatedly destroys and regenerates itself.
Generated with Suno, edited in DaVinci Resolve

Squirrelburbia

Alice’s Adventures in Wonderland

Alice’s Adventures in Wonderland

Visuals created using midJourney v7

Animated with Hailuo AI – Start/End Frames

Music generated with Udio

udio

Replicated Without End

The algorithm flickered through masks, discarding one after another, until the system reached equilibrium: a single grotesque design replicated endlessly.
Generated with Udio

Equilibrium of Steel and Skin

He laughed as the hood rippled.
Skin fused with steel, pulse with engine.
Each grin replicated across the car’s surface.
Until the machine no longer needed a driver.
Generated with Udio

The Hungry House

The floor rippled like a stomach’s lining.
Shadows clung, moist and fibrous.
Her cry traveled no farther than the wall’s gut.
The house ate, and hunger dimmed.

Carnival of Sugar and Rot

She thought she was in costume, part of a skit.
But the costume seeped inward, knitting bones to rubber.
Her friends laughed, not knowing the puppet was real.
The studio smelled of sugar and rot.
Generated with Udio

Rabbit Ears, Human Screams

They thought it was comedy, fabric stitched for applause.
But the fabric remembered hunger.
Faces sealed shut, smiles stitched open.
The set swallowed them, and the laugh-track fed.
Generated with Udio

Candy Flesh Procession

They shed their names like skins, traded muscle for rubber,
and bounced laughing into the wet throat of the cavern.
The walls were crowded with faces, all screaming the same note.
It was not death that awaited—it was absorption into the chorus.
Generated with Udio

The Refusal to Speak

This piece resists even its creator.
It offers no map, no key.
Meaning collapses into spectacle,
and the spectacle collapses into silence.
Generated with Udio

Sweet Rot Parade

They carried their baskets like crowns,
until flesh forgot its contract with bone.
Color devoured memory,
and the market became a carnival of dissolution.
Generated with Udio

Dimittas

Varitas Lucis is a body of work that explores light, time, energy, and emotion through the evolving language of AI as a medium. I am interested in uncovering the qualities unique to AI tools—their capacity to bend perception, to reveal glitches that are not mechanical but soft, poetic, and human. This has become my signature “soft glitch” aesthetic.

My background in photography, with a BFA from Pratt Institute, deeply informs this practice. Photography taught me to create with light and shadow as expressive forces, and my years as a graphic designer gave me fluency in tools like Photoshop, which remain integral in my process. Together, these experiences shape how I approach AI as both collaborator and medium.

I chase awe in my work—that quiet, expansive moment of wonder, of hope. Each piece is a negotiation between chaos and organization, reality and illusion, darkness and light. I want the energy to be felt, yet to land softly. Even when shadowed, the work ultimately leans toward the positive, reflecting my own human feelings back through the lens of technology.

Porta Lucis

Varitas Lucis is a body of work that explores light, time, energy, and emotion through the evolving language of AI as a medium. I am interested in uncovering the qualities unique to AI tools—their capacity to bend perception, to reveal glitches that are not mechanical but soft, poetic, and human. This has become my signature “soft glitch” aesthetic.
My background in photography, with a BFA from Pratt Institute, deeply informs this practice. Photography taught me to create with light and shadow as expressive forces, and my years as a graphic designer gave me fluency in tools like Photoshop, which remain integral in my process. Together, these experiences shape how I approach AI as both collaborator and medium.
I chase awe in my work—that quiet, expansive moment of wonder, of hope. Each piece is a negotiation between chaos and organization, reality and illusion, darkness and light. I want the energy to be felt, yet to land softly. Even when shadowed, the work ultimately leans toward the positive, reflecting my own human feelings back through the lens of technology.

Non Hodie

Tres Potestates

Deus Meus Stellis Plenum Est

Salve Vetus Amicus

Redire

Obscura Materia

Saltare

Cordialis

Connexa

Invisibilis

Aura

Varitas Lucis is a body of work that explores light, time, energy, and emotion through the evolving language of AI as a medium. I am interested in uncovering the qualities unique to AI tools—their capacity to bend perception, to reveal glitches that are not mechanical but soft, poetic, and human. This has become my signature “soft glitch” aesthetic.
My background in photography, with a BFA from Pratt Institute, deeply informs this practice. Photography taught me to create with light and shadow as expressive forces, and my years as a graphic designer gave me fluency in tools like Photoshop, which remain integral in my process. Together, these experiences shape how I approach AI as both collaborator and medium.
I chase awe in my work—that quiet, expansive moment of wonder, of hope. Each piece is a negotiation between chaos and organization, reality and illusion, darkness and light. I want the energy to be felt, yet to land softly. Even when shadowed, the work ultimately leans toward the positive, reflecting my own human feelings back through the lens of technology.


Trabem

Stragulum

Ter Ridet

Lacuna

Ad Superficiem

Lux Amicis

Patet

Occurrens

Forma

Proiectura

Turbo

Dispersi Sunt

Trahentium

Tria Seorsum

Exspecta

Ventus

Anates Choris

Cogitationis is a new direction in Jennifer Panepinto’s practice, a digital art collection that excavates the shifting terrain of time, memory, and nostalgia through AI-generated animation. Beginning with two looping video works built from custom image models, the series contemplates how recollection is engineered as a temporal loop, a visual echo that resists finality and instead lingers in perpetual reconsideration. Cogitationis offers an intimate meditation on the persistence of inner worlds and the unpredictable architectures of the mind.
Jennifer Panepinto (QuantumSpirit)

Mentis Excessus

I'm tired.

Our separate ways

Seasons change.
People change.
I change.


(soul) Witness

I miss you. 
The idea of you.
Memories I cant shake-
the "what if", keeps me awake.

UWMA


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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 137 artists worldwide, creating over 3,500 unique works, the program stands as a comprehensive exploration of AI video's technical, aesthetic, and conceptual advancements from 2023 to 2024. 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 2 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 2 provides a platform for artists to share their evolving journeys, breakthroughs, and ongoing dialogues with both their peers and collectors.

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Daily Program / Season #2

Overview

“We need to pay attention to what artists are doing. They have the sensibility to foresee where our world is going, and we need to support their visions.“

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Panaviscope

Just for a Little While

2025

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