AI

For as long as I can remember, my father and I shared a vision of the future—one where technology expands imagination. He was a futurist, an artist, and an architect, working at the intersection of science fiction and structure, imagination and form. His portfolio stretched from sculptural buildings to sketches of impossible machines—always asking: what’s next?

He passed in May 2022—the same month generative image models first emerged.

Since then, continuing that vision has become more than a pursuit—it’s a calling. A way to honor his legacy while evolving my own.

In 2023 I founded House of Indovina — a two-person exploration lab (myself + an ML/AI engineer) — to give that journey a name. In January 2026, I began sharing my thinking behind art, film, technology, and motherhood on my personal Youtube. These thought experiments can also be found here.

This page is not a portfolio but a field journal: fragments, experiments, and signals of what’s possible.

Current AI Stack: Veo 3, NANO BANANA, Runway, MidJourney, Magnific, Stable Diffusion XL Control Net, Moonvalley, Higgsfield, Krea, Fal, Luma, Pika, Suno, ElevenLabs, ChatGPT.

Select Experiments, 2021–2025

Dancing With My Darker Twin

Back in the early 00’s, when I was learning filmmaking, I had this little ritual. I’d open Maya, smash around geometry until some odd character showed up… skip rigging… throw color on it… then grab a few cameras and let them drift. Just float around the scene until the camera found the thing. When I stitched those clips together, a loose narrative would appear—usually weird, sometimes embarrassingly honest.

I learned three truths from that brutal, rudimentary process:

1.There’s real pleasure in the pathless woods: making a mess before you know what it means.

2. Meaning tends to show up after the mess—like you’re uncovering a narrative you’ve been living with.

3. Tools are rarely the problem. Using technology without cooking it all a little can be surface level slop. Today’s tools can accelerate slop, but they can also accelerate the faster turnarounds which lets you stay intuitive—like a kid learning 3D. Less premeditated, more raw This wolf/sheep film is me doing that again. Same instinct, newer tools.

The Transmissions Series

The Transmissions Series is an ongoing collection of short-form, high-impact visual narratives designed to explore the shifting edges of identity, technology,and creative existence.

Each clip is a micro-dose of myth—a signal or code sent from the collapsing boundaries of self and system, delivering a question, a warning, or a pulse of clarity.

The Grandma V-Logs

Grandma V-Logs is my personal riff on a YouTube trend that exploded in June 2025. Around that time, the platform was flooded with Bigfoot Vlogs—short-form videos made using Google’s newly released Veo 3 model. The AI was shockingly good at realism, especially with anything it had clearly been trained on: Bigfoot, nature, vlogs, old people.

I can’t follow directions to save my life, so instead of jumping fully on the Bigfoot bandwagon, I made a hard left—and used a granny.

Inspired by my mom’schaotic relationship with technology, I generated the dialogue and fed the lines into Veo 3. The result was Grandma V-Logs: part satire, part character study, part tech-art experiment.

Strangely, these videos tanked compared to my Transmissions series, which was far more abstract and personal. You’d think riffing on a trend would outperform my weirder stuff—but no. It was a good reminder: I should just make the art I want to see, and leave the Bigfoots to the pros.

Wan 2.1 Animation Series

The Wan 2.1 Series is a continuing collection of short-form narrative experiments, each crafted to probe how nuanced model adjustments and compute variations can dramatically alter the emotional and visual output of minimalist black-and-white, illustration-style films. Focused on restraint, contrast, and the emotional resonance of limitation, this series serves as both a technical study and an aesthetic meditation on how style emerges from subtle shifts in process.

Unserious Series

The Unserious Series is an ongoing collection of short-form narrative experiments and monologue-driven portraits. Each piece isolates a single character or concept, using them as a lens to explore storytelling in the age of evolving creative tools. The series blends traditional 3D and animation techniques—lighting, rigging, performance capture—with emerging AI technologies to create emotionally resonant vignettes that feel both handmade and machine-touched. Unserious is, ironically, a serious exploration of what happens when old workflows collide with new possibilities, all within a compact, cinematic frame.

HOUSE OF INDOVINA, Journey Reel 2023

At the beginning of time… just kidding. In 2023, Runway released one of their most impressive video models. At the time, I was in the early stages of pregnancy, low on bandwidth, but in need of a creative tool to release all the fears and anxieties.

To keep my creative flow alive, I built this short reel—an experiment in generative AI video using some of my own AI images, plus a few relics from before this new renaissance began.

This piece lives here as an archive—a snapshot of how quickly this world is evolving.