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Spotlight on Issue #7 of WOW WORLD Magazine
In WOW WORLD Magazine Issue #7, Resonant Futures, we spotlight seven creators who are reshaping how culture sees AI—less as novelty, more as craft, memory, and method. These artists treat algorithms like collaborators: attentive, opinionated, and capable of surprise.
Their work doesn’t imitate life.
It extends it—testing assumptions about identity, perception, ritual, and beauty in a world increasingly shaped by generative systems.
This is not art for the scroll.
This is art that stays.
“We build with machines to listen better to ourselves.”
— WOW WORLD Editorial
Issue #7 presents a vivid spectrum of practice where couture, architecture, portraiture, and myth meet machine intelligence. From @spipasucci_ai (Dean Bianchi), whose pop-surreal tableaux remix film memory and zine-era grit, to @artu_nreal (Arturo del Razo Montiel), who scripts parametric rituals from letters, maps, and medusae, this issue traces how code becomes narrative. @ai_sana_create (Oksana Tsepenok) choreographs dancers and jellyfish at the threshold of the unreal; @contingency_plans (Kaveh Najafian) turns digital couture into moving architecture; @vi_ai_creates (Viktoriya Moroziuk) braids orchids with fractal light to model resilience; @helenbreznik (Helen Breznik) drapes cities in fabric and fabric in stone; and @sorbet_world by Mai Ryde renders radical tenderness in full color for communities too often overlooked. Together, these seven spotlight artists chart an emotional frontier for AI art—where fashion, form, ritual, and rebellion converge. They aren’t just generating images; they’re drafting emotional blueprints for futures we can feel.
Oksana Tsepenok - Between Light and the Illusion | Bellevue, USA | @ai_sana_create
Oksana Tsepenok – Between Light and the Illusion
With tactile precision and dreamlike calm,
Oksana Tsepenok choreographs bodies at the edge of awakening.
Ukrainian-born, Seattle-based, she treats AI as partner in sensation,
translating breath, balance, and memory into luminous rites.
In Between Light and the Illusion, dancers rise among floating jellyfish a threshold where gravity loosens. Each image is a
meditation on grace as defiance, on softness as strength.
Grace in the Threshold continues the crossing.
Chrome-bright creatures become pedestals; the body holds stillness like music.
Textures of leather, water, and light resolve into becoming.
Oksana’s work isn’t decorative. It is felt intimate, cinematic, and ecstatic.
Her spotlight pieces don’t explain movement; they grant permission, inviting viewers to breathe, soften, and step closer
until the unreal turns tender and tender remembers how to fly.
Vojtek Morsztyn - Elemental Harmony | London, United Kingdom | @vojtek_morsztyn
Viktoriya Moroziuk – Elemental Harmony
With meditative color and precise restraint, Viktoriya Moroziuk composes portraits where orchids and lattices share one breath.
Kyiv-based, she treats AI as brush, mirror, and mapped attention, revealing tenderness structured by light.
In Bloom Through Fracture, petals and fractal filaments entwine resilience rendered as geometry. Each tableau is a
meditation on softness with spine, on healing that glows.
Fractal Orchids extends the feeling.
Symmetric patterns pulse behind calm faces; gradients hold grief and renewal together.
Nature and code trade roles until presence feels architected and true.
Viktoriya’s work isn’t ornate. It is felt quiet, luminous, and intimately composed.
Her spotlight pieces don’t chase spectacle; they slow the gaze with patient attention, inviting viewers to rest inside color and breathe until the flower becomes memory and memory blooms back as light.
Kaveh Najafian - Draped in Dreams | Hamburg, Germany | @contingency_plans
Kaveh Najafian – Draped in Dreams
With sculptural instinct and couture verve, Kaveh Najafian treats garments as moving architecture. Iranian-born and Hamburg-based, he works across studio practice and speculative tech, folding intuition, material experiment, and AI into fluid silhouettes. In Draped in Dreams, fabric behaves like terrain—the body a landscape to traverse—an atlas of folds and shadows. Each look is a meditation on motion as form, on elegance refusing finality. Geometries in Motion shifts the focus. Deep reds and black fields frame crisp volumes, tension humming between chaos and control. The figure becomes sculpture, then breath, then possibility. Kaveh’s work isn’t costume. It is felt—architectural, sensual, and alive. His spotlight pieces don’t freeze style; they test it, inviting viewers to inhabit the in-between until pattern remembers history and history steps forward wearing light.
Dean Bianchi - Surreal Reality | STallmadge, OH, USA | @spipasucci_ai
Dean Bianchi – Surreal Reality
With pop-surreal daring and indie-film poise, Dean Bianchi stages tableaux where reverie meets rebellion. A creative with roots in film and music, his visuals remix ritual, zine-era grit, and bioluminescent calm into dream-charged stills. In Orbed Glory, winged figures glow beside skulls and magenta halos—an image of devotion and defiance. Each frame is a meditation on memory as performance, on myth remixed for now. Winged Statue shifts the scene. A pastel guardian and screens loop the self until presence feels recorded, rewound, and alive. Media becomes mirror; nostalgia becomes voltage. Dean’s work isn’t literal. It is felt—playful, cinematic, and transgressive. His spotlight pieces don’t posture; they hum under the skin, inviting the viewer to linger past spectacle until the weird turns tender and the tender reveals its electric heart.
Mai Ryde US | @sorbet_world | www.sorbetworld.com (Cover Artist)
Mai Ryde – Sorbet World & Braids of Power
With radical tenderness and editorial clarity, Mai Ryde builds Sorbet World as a living archive of joy. US-based creative director and artist, she centers Black, queer, and body-positive communities, treating AI as canvas and critique—teaching systems to see. In Sorbet World, glittered afternoons and laughter become ceremony—a palette where visibility equals love. Each portrait is a meditation on belonging, on softness with unapologetic strength. Braids of Power holds the gaze. Stillness gathers weather; adornment becomes signal, shield, and poem. Beauty meets advocacy in images calibrated for dignity and light. Mai’s work isn’t trend bait. It is felt—vibrant, grounded, and humane. Their spotlight pieces don’t chase the algorithm; they disarm it, inviting viewers to stand within color and care until tenderness reads as power and power returns the favor.
Arturo del Razo Montiel - Letters to Medusae | Italy | @artu_nreal
Arturo del Razo Montiel – Letters to Medusae
With parametric poise and ritual intent, Arturo del Razo Montiel composes architectures where data drifts like tide. A Mexican designer working in Italy, he merges computation, fabrication, and story. In Letters to Medusae, hand-written notes rise beneath translucent jellyfish—a canopy of remembrance and release. Each installation is a meditation on grief, wonder, hope, and crowdsourced memory in motion. Organic Cities shifts the register. Maps grow skins; streets bloom and decay as bio-digital terrain. Urban time collapses into sculpture, asking how planning learns from entropy. Arturo’s work isn’t spectacle. It is felt—measured, cinematic, and devotional. His spotlight pieces don’t deliver answers; they choreograph questions, inviting the public to stand inside a living archive until sea, city, and handwriting braid into one luminous, breathing structure, alive and interdependent.
Helen Breznik – Rewritten in Cloth | Toronto, Canada | @helenbreznik
Helen Breznik – Rewritten in Cloth
With graphic clarity and material curiosity, Helen Breznik braids fashion and architecture into one living language. Every seam suggests a pathway home. Toronto-based, she moves between illustration, 3D, and AI, letting fabric behave like structure. In Rewritten in Cloth, mesh, metal, and canvas flow as if they could remember—garments acting like façades. Each image is a meditation on shelter as silhouette, on bodies housed by light. Oxidized Parasols widens the field. Floating canopies gather like vaulted armor—parasols lifted into gentle cathedrals. Stone learns softness; textiles learn patience; space becomes a second skin. Helen’s work isn’t trend. It is felt—precise, textural, and protective. Her spotlight pieces don’t shout novelty; they shift perception, inviting viewers to inhabit hybrid forms and thresholds until fabric turns architectural and architecture returns to touch.
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Letters to Medusae by Arturo del Razo Montiel
Between Light and the Illusion by Oksana Tsepenok
Rewritten in Cloth by Helen Breznik
