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Message Noemi Reyes

ISSUE #01GENERATIVE2impressumthe syntax of creativityART IS AN ACT OF CONNECTION—A BRIDGE BETWEEN MEMORY, CULTURE, AND IMAGINATION. THE COLLECTION OF WORK IN THIS ISSUE IS A TESTAMENT TO THAT, OFFERING A WIDE-RANGING YET DEEPLY INTERTWINED EXPLORATION OF IDENTITY, POWER, AND TRANSFORMATION. FROM SURREALISM TO INTIMATE PORTRAITURE, FROM POLITICAL SATIRE TO NOSTALGIC LONGING, THESE ARTISTS ENGAGE WITH HISTORY, EMOTION, AND THE EVER-EVOLVING NATURE OF SELF. WHAT STANDS OUT MOST IS THE WAY EACH ARTIST BRINGS A DISTINCT PERSPECTIVE—SOME REFLECTING ON THE LASTING IMPRINT OF HOME AND HERITAGE, OTHERS CAPTURING STRENGTH AND RESILIENCE THROUGH THE HUMAN FORM. THERE ARE WORKS THAT MERGE TECHNOLOGY WITH EMOTION, CHALLENGING THE LINE BETWEEN ARTIFICIAL AND ORGANIC. SOME ARTISTS PLAY WITH PERCEPTION ITSELF, DISTORTING REALITY THROUGH TEXTURE AND ABSTRACTION, WHILE OTHERS CONFRONT SYSTEMS OF POWER WITH SHARP WIT AND SATIRE. THROUGHOUT IT ALL, THERE IS A TENSION BETWEEN PAST AND FUTURE, THE FAMILIAR AND THE UNKNOWN, TRADITION AND REINVENTION. TOGETHER, THESE ARTISTS ARE NOT JUST DOCUMENTING THE WORLD AS IT IS—THEY’RE QUESTIONING IT, RESHAPING IT, AND IN SOME CASES, BUILDING SOMETHING ENTIRELY NEW. WHETHER THROUGH A SINGLE GAZE, A REIMAGINED LANDSCAPE, OR THE DELICATE INTERSECTION OF MECHANICAL AND HUMAN TENDERNESS, THEIR WORK REMINDS US WHY ART MATTERS. IT’S ABOUT CONNECTION—TO SELF, TO HISTORY, TO PLACE, AND TO POSSIBILITY. THAT IS WHAT MAKES THIS COLLECTION SO COMPELLING—NOT JUST THE INDIVIDUAL VOICES, BUT THE CONVERSATION THEY CREATE TOGETHER.

GRAMMATIKMARCH 20253noemi reyes featured artist Home, Memory, and the Island’s EmbracelashonaboydBlack Women: Divine, Unshaken, CelebratedrogerscottLight Meets Ruin: The Art of TransformationcolfaxdesignsPower, Parody, and Punk RebelliontaherBetween Myth, Abstraction, and the Unknowntodd wallerBlurring Reality, Myth, and Identitynagawalule Where Machines Kneel and Empathy ReignslindacathcartEthereal Beauty, Timeless StorytellingcjfletcherPunk Evolves, Rebellion Enduresjoreeves Vibrant, Joyful, and Unapologetically Freethe artists414202326283261013

ISSUE #01GENERATIVE4Lashona Boyd’s “Her Golden Ag”e (above) is a regal and mesmerizing portrait that exudes power, wisdom, and reverence for the natural world. The subject’s deep, steady gaze commands attention, her face adorned with golden honeycomb patterns, metallic embellishments, and delicate bees that seem to whisper stories of resilience and divine femininity. A single, rich dahlia covers one eye—both a symbol of beauty and an invitation to see beyond the surface. The contrast between her luminous golden adornments and the deep, velvety texture of her afro creates a striking interplay of light and shadow, reminiscent of classical portraiture infused with Afrofuturist sensibilities.This piece feels like an ode to both ancestry and evolution, where past and future coexist in harmony. The honeycomb motif, a sacred symbol of structure and community, suggests an unbreakable lineage, a connection to the labor and legacy of those who came before. The golden lips and embellishments evoke royalty, positioning the subject as an empress, a deity, or an eternal force of nature. There is a quiet intensity in her expression—serene, knowing, unshaken—a presence that transcends time. The work echoes the aesthetic grandeur of artists like Gustav Klimt, but with a distinctly Afrocentric perspective, reclaiming luxury, opulence, and self-determination.lashona boyd

GRAMMATIKMARCH 20255Lashona Boyd’s “Unbothered” (left) is a quiet, soulful meditation on presence, resilience, and the beauty of simply being. The image captures a Black woman in a moment of serene contemplation, her expression gentle as she inhales the fragrance of a deep red dahlia. Dressed in earthy overalls embroidered with a golden bee, she stands in harmony with her surroundings, embodying a connection to nature that feels both timeless and deeply personal. The soft, muted tones of the background create a dreamlike quality, allowing the ower’s vivid red to take center stage—perhaps symbolizing passion, life, or even a quiet strength.There’s an undeniable warmth in this piece, a celebration of Black womanhood as something grounded, unshaken, and self-contained. The title, “Unbothered”, perfectly complements the scene—this is a woman who moves at her own pace, nding joy in the smallest, most organic moments. The choice of natural tones, from her brown sunhat to the subdued reds of her clothing, reinforces a sense of authenticity and rootedness. It’s a visual narrative that resists urgency, instead inviting viewers to embrace stillness, to nd peace in simplicity.Boyd’s work carries a strong storytelling element, evoking themes of self-care, ancestral wisdom, and the relationship between Black identity and the land. It calls to mind the artistic traditions of Black Southern photography, where everyday moments become acts of quiet deance and deep self-love. In a world that often demands constant motion, Unbothered is a beautiful reminder of the power found in pause, in taking up space without apology, in existing fully on one’s own terms.Boyd’s work resonates as a love letter to Black women, inviting them to see themselves in her art as divine, unshaken, and worthy of celebration. Whether through the soft embrace of nature or the metallic glow of royalty, her portraits reject limitation and instead revel in possibility. Together, Unbothered and Her Golden Age tell a story of presence and transcendence—of existing fully in the now while honoring the legacies and futures held within.

ISSUE #01GENERATIVE6“Art isn’t just about seeing—it’s about stepping through. These works blur the edges of reality, pulling us into spaces where the familiar and the fantastical collide.”todd waller

GRAMMATIKMARCH 20257This collection is an invitation into parallel realities—some hauntingly serene, others pulsating with surreal energy. Each piece draws us into a world just a step beyond our own, where nature, identity, and fantasy blur into a single, evocative narrative. The mirrored trees of “Swim, Forest, Swim” (above, left) create an ethereal, almost hypnotic symmetry, as if the universe is folding in on itself. Meanwhile, “Happy Hare” (above) takes a playful yet regal approach to portraiture, transforming the wild into something noble and mythical. There’s an intensity in “Heterochromia” (pg. 8, top)that speaks of duality, an untamed spirit contained within careful strokes of light and saturation. Every image here speaks to a redenition of what’s familiar—pushing against expectations, carving new visual lexicons. But among them all, “Museum Greeter” (next page, lower left) stands out as the most conceptually rich. The portrait dees the boundaries between subject and setting,

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GRAMMATIKMARCH 20259seamlessly merging a living presence with the stillness of art history. The woman’s expression is poised, her posture assertive, yet she is ensnared within the ornate, oral background of the painting behind her. She isn’t just standing in front of the artwork—she is part of it, dissolving into the canvas, neither fully here nor entirely there. This blending of reality and representation questions our assumptions about portraiture itself. Are we looking at a woman with a painting behind her, or has she always belonged within its gilded frame? The tension between self and setting is palpable, evoking themes of heritage, representation, and the ways in which art shapes identity. Beyond its conceptual depth, “Museum Greeter” is visually striking. The interplay of warm hues, the richness of the background, and the deliberate placement of her gaze make this more than a passive portrait—it’s an active engagement. She looks right at us, condent, unshaken, almost daring us to separate her from the art that surrounds her. The potted plants anking the frame add an element of quiet domesticity, grounding the surreal with something tangible, yet even these feel too perfectly placed, as if part of the grand illusion. It’s a piece that demands a second, third, and fourth glance—one that refuses to sit still under easy interpretation. The rest of the collection continues this dance between familiarity and the fantastical. “Wall Portrait” expands on the theme of presence and legacy, surrounding a central gure with layers of history, painted faces frozen in time while a living subject stands before them. “Chillaxing” takes a dierent turn—tranquility in a liminal space, footsteps disappearing into alien dunes under a quiet moon. The footprints suggest movement, but where to? Is this a journey toward or away? These moments of tension—between reality and dream, isolation and belonging—run through the entire set, making each image feel like a doorway to an unnished story. What ties this collection together is its uidity—between reality and illusion, history and present, human and myth. It challenges us not just to look, but to step inside, to exist within these worlds even for a moment. This isn’t just art—it’s an act of transformation, a quiet rebellion against the constraints of the expected. And maybe, just maybe, that’s what makes it feel so alive.“A portrait is a painting with something wrong with the mouth.” - John Singer Saargent

ISSUE #01GENERATIVE10fascism is fashionable

GRAMMATIKMARCH 202511President Donald Trump (left) is depicted in a satin pink gown and sparkling diamonds. It mimics Madonna’s gown in the music video for “Material Girl,” which is an homage to Marilyn Monroe’s performance of “Diamonds Are a Girl’s Best Friend” in the 1953 movie Gentlemen Prefer Blondes. Madonna’s 1985 single embodied and satirized the era’s emphasized wealth, luxury brands, and status symbols.colfaxdesignsfascism is fashionableEndacott’s work plays with camp, irony, and visual contradiction to expose the absurdity of political idolization. By exaggerating these leaders’ cultivated images, she reveals how much of their power is aesthetic manipulation. The punk ethos behind Fascism Is Fashionable doesn’t just mock—it empowers, allowing viewers to laugh at figures who often inspire fear. In doing so, the series turns these authoritarian icons into something less formidable: spectacle, performance, and, ultimately, parody.

ISSUE #01GENERATIVE12“Volodya” is the Russian diminutive name, an abbreviated and informal version of the name “Vladimir.” Russian President Vladimir Putin (above) is featured in he iconic yellow military jacket that Freddie Mercury wore during Queen’s 1986 Magic Tour. Freddie Mercury’s ostage style, inuenced by 1980s gay club culture, combined leather jackets, tight denim, and white tank tops with a blend of masculine and feminine fashion elements.The godfather of the modern American conservative movement, Ronald Reagan, (right) is depicted in a dress that blends the sexuality of sex icon Marilyn Monroe and the conservatism of trad wife Nancy Reagan. It forces the viewer to make light of a weighty subject. Those who fear toxic masculinity are allowed to laugh at a thing they fear, while the alpha male is confronted with their conservative idol in women’s clothing.

GRAMMATIKMARCH 202513Jo Reeves is a Black woman artist and storyteller whose creative journey began in childhood, wielding art as a tool to reect, life’s challenges, and evoke emotion. As the owner of Dope Digitals and The AI Creative Studio, her work centers on capturing the essence of African American life—its unspoken struggles and untamed joy. By the age of 17 she’d created a documentary on gang violence that was featured at the Walker Art Museum of Minneapolis. She then founded a youth arts program in her neighborhood. She has always believed in the power of art to transform, but had never had the opportunity to do it full time. At 36, she discovered AI art—a medium that came to her in a moment of personal upheaval, when burnout had silenced her voice. Through it, she rediscovered, not only her passion but also a way to craft imagery that speaks directly to the soul. For her, art is more than creation; it’s liberation.joreeves“Untamed” is a bold, effervescent celebration of Black joy, self-expression, and liberation. The composition bursts with energy—her subject, a radiant Black woman, reclines in an exuberant pose, her laughter filling the frame. Her hair, a cascade of colorful curls, spirals outward like fireworks, each curl a testament to the vibrancy and creativity of Black culture. . This is not just an image; it’s an affirmation.What makes Untamed so compelling is its defiance of restraint—this is joy in its most unfiltered form. The exaggerated perspective, with a playful foot in the foreground, places the viewer right in the midst of her bliss, making the experience immersive rather than distant. There’s a touch of surrealism here, an elevation of reality that transcends mere portraiture. The image pulses with life, reminiscent of Kehinde Wiley’s regal compositions or Mickalene Thomas’ bold, celebratory depictions of Black womanhood. It’s both contemporary and timeless, a fusion of fine art and digital innovation that honors the essence of its subject.

ISSUE #01GENERATIVE14FEATURED ARTIST: NOEMI REYESNoemi Reyes’ “Mi Alma en Dos Tierras”is a deeply personal and evocative exploration of belonging, nostalgia, and the enduring connection to home. Through lush, dreamlike compositions, she bridges the space between memory and present, weaving the warmth of Puerto Rico into every scene. The vibrant landscapes, adorned with rich tropical ora, rolling hills, and ocean vistas, reect the island’s natural beauty, but more importantly, they capture the emotional weight of longing and return. Whether through the gaze of a gure standing at the edge of a mountaintop or the intricate details of a ower bed where a coquí peeks out, each image feels like a visual poem—an ode to home that is both seen and felt. Her work is rooted in personal experience, shaped by the journey of leaving, returning, and losing home again to forces beyond control. The soft golden light that lters through her landscapes speaks to the warmth of remembrance, while the vivid contrast between earth and sky embodies the tension of living between two places. The butteries scattered throughout her work symbolize transformation and migration, mirroring the way memories shift but never fade. Pieces like “The Island Grieves the Plane” (above) and “My Soul in Two Lands” explicitly acknowledge this duality—the sorrow of departure but also the quiet reassurance that home never truly leaves us. Through this lens, her work becomes both deeply specic and widely relatable; anyone who has ever longed for a place left behind can nd echoes of their own experience in her imagery.

GRAMMATIKMARCH 202515FEATURED ARTIST: NOEMI REYES“Reyes’ art is a bridge between memory and place, capturing the bittersweet beauty of belonging and loss. Her images remind us that home isn’t just where we are—it’s what we carry within us.” There’s a tangible sense of movement in Noemi’s compositions—clouds drifting across a blue sky, waves lapping against the shore, or a woman standing with the wind in her hair, caught between here and there. The landscapes feel alive, as if they breathe with the pulse of memory. Even in stillness, her work conveys the sensation of time passing, of places changing yet remaining familiar. The ora and fauna she includes—ourishing hibiscus, towering palms, the ever-watchful coquí—serve as anchors, symbols of continuity in a world where so much feels eeting. These details aren’t just decorative; they hold weight, acting as cultural signiers, reminders of home’s persistence even in absence. Noemi’s use of color further deepens the emotional resonance of her work. The rich greens of the hills, the golden sunlight, the deep blues of the sea—each hue is carefully chosen to evoke a mood, a memory, a sensation. The warmth of her palette isn’t just a reection of the Caribbean climate; it’s an embrace, a way of visually capturing the feeling of being held by home. Even when her pieces explore the ache of distance, they never feel cold. Instead, they carry a quiet reassurance, a message that home is never truly lost—it’s carried within. What makes “Mi Alma en Dos Tierras” so compelling is its ability to resonate beyond one person’s story. It speaks to anyone who has ever left a place they love, carrying it with them in scents, sounds, and unshakable sensations. Mimi’s art is not just about Puerto Rico—it’s about the universal experience of holding onto home, no matter where life takes us. In her rich colors, layered textures, and deeply sentimental storytelling, she reminds us that home is not just a place, but a feeling—one that lingers, waits, and welcomes us back in its own way. Through her masterful balance of nostalgia and presence, longing and love, Mimi has created a body of work that doesn’t just depict home—it *feels* like home.

ISSUE #01GENERATIVE16Noemi’s “San Juan Beauty” (right) is a love letter to Puerto Rico’s architectural elegance and lush tropical abundance. The composition masterfully balances structure and nature, with a stately colonial-style building standing in quiet harmony with the wild, ourishing greenery surrounding it. Deep green doors and ironwork balconies evoke the timeless charm of Old San Juan, while the golden facade glows with a warmth that feels both nostalgic and inviting. The foliage, however, steals the scene—towering palms, ery red and golden fronds, and dense jungle greens create a rich tapestry of life, movement, and color. There’s an undeniable sense of place here, as if the viewer is standing just beyond the threshold of memory, gazing upon a home that holds generations of stories. The dark background intensies the vibrancy of the leaves and owers, emphasizing the contrast between cultivated beauty and the untamed natural world. The meticulous detailing in each leaf and architectural element speaks to Mimi’s reverence for both nature and heritage. This piece encapsulates the spirit of Puerto Rico—a fusion of history, resilience, and vibrant life. It’s not just an image; it’s a feeling, a memory, a longing to return.“San Juan Flora” (right) is a stunning celebration of life, color, and the seamless harmony between nature and architecture. The deep turquoise façade of the building is both bold and serene, acting as a perfect canvas for the lush tropical greenery that spills over its edges. Vivid red blossoms, golden fruits, and towering palm fronds create a symphony of textures, enveloping the structure in a way that feels both cultivated and wild. The arched windows and intricate wrought-iron balcony suggest a timeless elegance, a reminder of San Juan’s colonial history intertwined with its ever-thriving natural world. This piece radiates warmth, not just in its golden accents but in the way it captures the essence of the Caribbean—vibrant, abundant, and alive with energy. The interplay between shadow and light breathes movement into the image, as if the ora itself is in constant dialogue with the space it inhabits. There’s a dreamlike quality here, a sense that this could be a memory, a glimpse into an idealized home, or an invitation to step inside and bask in its beauty. Through San Juan Flora, Noemi masterfully conveys a sense of place—one where nature and history exist in harmony, where beauty isn’t just in the details but in the way they come together. It’s a love letter to the resilience of Puerto Rico’s spirit, where even the walls of a city seem to bloom.

GRAMMATIKMARCH 202517“The Island Waits” (left) is a breathtaking meditation on nostalgia, longing, and the inescapable pull of home. A lone woman stands at the edge of a verdant hillside, gazing out over rolling green mountains and the vast ocean beyond. Her dress, adorned with butteries, suggests transformation, migration, and memory—echoing the quiet utter of the buttery before her, caught between earth and sky. The landscape is rich with life, from the deep greens of the hills to the bold red hibiscus in the foreground, a symbol of warmth, resilience, and the island’s ever-present beauty. The sky, vast and open, feels like a bridge between past and present, between the place one leaves and the place one returns to in dreams. The soft clouds drifting across the horizon add to the sense of quiet contemplation, as if time itself slows in this moment of reection. The details—the winding path cutting through the hills, the faint speck of a boat in the distance—whisper of journeys taken and those yet to come. There’s an emotional weight to this scene, a sense that the island isn’t just a physical place but a living presence, waiting, watching, holding memories within its landscape. This piece speaks to anyone who has ever felt the ache of distance and the comfort of knowing that home, in some way, always waits.

ISSUE #01GENERATIVE18Noemi’s “Coquí Lindo” (left) and “Country Wood House” (below, left) are intimate love letters to the island’s natural beauty and simple, soul-soothing spaces. Coquí Lindo is a lush symphony of hibiscus, orchids, and jungle leaves, where the island’s beloved coquí peeks out, a tiny guardian of nostalgia and sound. The intricate textures and soft, warm tones evoke the quiet hum of the rainforest, where nightfall brings the chorus of this tiny frog—a sound that, for many, denes home. It’s a delicate balance between stillness and movement, a reminder that even the smallest voices carry deep meaning. Meanwhile, Country Wood House oers a more grounded perspective, placing the viewer at the threshold of a small yet vibrant home nestled within the rolling greenery of Puerto Rico’s hills. The painted exterior, bursting with tropical motifs, is a bold statement: home is not just a place but a living, breathing extension of the landscape. The bold red door feels like an invitation—not just into the home itself, but into the heart of the island, where color, warmth, and resilience dene the spirit of its people. But it is “Island Beauty” (top, center) that takes center stage, pulling us into a moment of longing, reection, and

GRAMMATIKMARCH 202519deep-rooted connection. A woman, draped in a owing dress, stands at the edge of a verdant hill, her back to us, gazing toward the expansive view. Her dress, patterned with butteries, suggests themes of transformation, migration, and an unbreakable tie to the land. The way her curls cascade, echoing the rolling hills below, feels intentional—as if she is one with the landscape itself. The rich greens and golden hues create a dreamlike quality, soft yet vivid, capturing the vibrancy of an island that lives not just in geography but in memory. There is a meditative stillness here, a deep inhale before a decision, a pause before an unspoken question. In the distance, the coastline curves like an embrace, the mountains standing steadfast behind it. The sky, vast and inviting, is lled with warm clouds that seem to breathe with the land. Butteries drift weightlessly, symbols of change, of journeys taken and those yet to come. The scene invites contemplation: is she returning home, or is she on the verge of leaving it once more? This is Mimi’s magic—her ability to capture the duality of migration, the bittersweet beauty of never fully belonging to just one place. Through her masterful use of light and color, she evokes a timeless nostalgia, the kind that lingers in the scent of ocean breeze and the rustling of palm fronds. What makes Island Beauty so powerful is its emotional universality. Even for those who have never stood on Puerto Rican soil, the composition stirs something deeply human—a longing for home, for familiarity, for the landscapes that shaped us. The woman is faceless, yet she is everyone who has ever left and hoped to return. She stands in quiet dialogue with the land, absorbing its energy, memorizing its contours, knowing that even if she leaves, it will never leave her. The interplay of warm sunlight, the depth of color, and the organic movement of nature all work in harmony to create a piece that is as much about feeling as it is about seeing. In “Island Beauty”, Noemi Reyes does more than depict a landscape—she tells a story, one that so many can see themselves in. It’s not just an image; it’s an invitation to remember, to reect, and to nd home in the spaces we carry within us. The island waits, always. And through Noemi’s lens, it welcomes us back, time and time again.

ISSUE #01GENERATIVE20taherA Hollywood-inspired portrait of a woman, her deep, expressive eyes locking with the camera. Dramatic lighting highlights her high cheekbones and full lips, with soft shadows adding depth. Her dark hair cascades around her shoulders, and she wears an elegant gown. The background is blurred, creating an ethereal, timeless atmosphere with rich shadows and warm highlights.Taher’s body of work is a mesmerizing fusion of abstraction, surrealism, and intimate portraiture, demonstrating a deep engagement with visual storytelling and emotional depth. Each piece operates in a dierent realm, yet they share an underlying thread of mystery and contemplation. From stark, almost minimalist compositions to richly detailed dreamscapes, his collection refuses to be conned to a single style or interpretation.His abstract work, like the desert-inspired composition, plays with color elds and texture, evoking a sense of erosion, time, and transformation. Meanwhile, his portraiture captures an unspoken intensity, using shadow and light to reveal the emotional interior of

GRAMMATIKMARCH 202521his subjects. Then, there’s his grand, mythological surrealism—a striking piece that envisions a celestial, otherworldly domain where hybrid beings sit in regal contemplation, oating planets and cosmic elements swirling around them. It’s a scene that recalls the theatricality of classical painting, yet feels entirely new, as if pulled from the depths of an ancient myth reimagined for a futuristic audience.What makes Taher’s work so compelling is its ability to oscillate between stark simplicity and intricate fantasy, between intimate human emotion and the vast, unknowable cosmos. His compositions carry a sense of searching—a longing for meaning in abstraction, a fascination with the otherworldly, and a sensitivity to the quiet, luminous details of everyday life. Whether through a textured, nearly minimalist landscape or a sprawling surrealist vision, his collection feels like an artist unafraid to explore both the tangible and the transcendent.Surreality, a concept beyond the limits of strict AI programming, involves blending real and unreal elements in ways that create fantastical, dreamlike experiences. While AI cannot experience surreality as humans do, it can generate surreal content by recognizing patterns and juxtapositions that defy conventional reality. AI might create surreal visuals by combining incongruous elements—like animals with human traits or objects in impossible contexts—or generate text that is grammatically sound but semantically unusual. In art, AI blurs lines between reality and imagination, using unexpected combinations to evoke disorientation or surprise. Although AI can replicate surreal elements, the true experience of surreality relies on human perception, cognition, and subjective interpretation, which AI cannot fully replicate or understand. AI can simulate surreality, but it cannot experience the emotional or cognitive depth of it.a tall, lithe woman traverses a desert of holographic sand that ripples with shifting neon hues. her attire is woven from fiber-optic threads, trailing prismatic plumes that blow in the wind. each footstep triggers a cascade of glittering data streams that vanish into the dunes -prompt

ISSUE #01GENERATIVE22play. create. lead.The Salon is where curiosity meets creativity, and bold ideas turn into reality. We PLAY rst—exploring AI with joy and experimentation. We CREATE boldly—challenging limits and building the unexpected. And we LEAD generously—sharing knowledge, lifting others, and shaping the future together. Here, creativity thrives in joy, kindness makes us stronger, and bravery drives us forward. Ready to explore, learn, and redene what’s possible? Join us.

GRAMMATIKMARCH 202523roger scottRoger Scott’s body of work is a fascinating exploration of texture, emotion, and cultural inuence, weaving together vibrant expressionism, moody realism, and conceptual experimentation. His collection is striking in its range—from the intricate, folkloric vibrancy of Panamanian Mola-inspired designs to the haunting, cinematic atmosphere of A Stairway. Each piece seems to channel a dierent visual language, yet all share an underlying intensity, whether through rich color palettes, layered textures, or the way light interacts with form.Scott’s inuences are eclectic and deeply felt. His African-American haute couture portrait embraces high fashion as a statement of power and presence, while his shoegaze album cover-style artwork captures a raw, introspective energy reminiscent of alternative music’s melancholic aesthetics. His abstract and mixed-media work, particularly the blocky primitive-style painting and the found-object composition, reect an experimental, almost tactile approach—these are pieces that feel sculpted as much as they are painted. His work doesn’t settle into one mode; instead, it moves uidly between nostalgia, surrealism, and cultural

ISSUE #01GENERATIVE24homage, each image engaging with the viewer in a distinct yet interconnected way.What makes Scott’s work so compelling is its ability to oscillate between worlds—between tradition and modernity, realism and abstraction, softness and edge. Whether evoking memories through distressed textures, celebrating identity through portraiture, or building depth through mixed media, his collection feels like an artist’s journey unfolding in real time. His portfolio is not just a showcase of artistic versatility but a testament to the emotional and conceptual depth that emerges when an artist allows themselves to truly experiment.Take, for example, Scott’s image (pg 25, Bottom right): Roger’s work captures a haunting intersection between decay and illumination, and this piece is no exception. A crumbling staircase, worn by time and neglect, ascends toward an unseen destination, bathed in a glow that feels both ethereal and foreboding.The peeling paint and fractured textures of the walls tell a story of abandonment, but within the ruin, there is

GRAMMATIKMARCH 202525undeniable beauty. The contrast between the deep, cold hues of the walls and the ery gold light ltering from above creates a tension—between past and present, destruction and renewal, despair and hope. It’s as if the space itself is caught in limbo, on the edge of transformation yet unwilling to let go of its history. The light in this image is more than just an element of composition; it feels like a presence, almost sentient in the way it spills down the steps, illuminating decay with an almost reverent touch. There’s a cinematic quality here, reminiscent of gothic storytelling or psychological horror—something just out of sight waits beyond the frame. The textures of age—cracked plaster, weathered wood, and the silent echoes of what once was—imbue the scene with a tangible weight, making the viewer feel as though they are intruding upon a forgotten moment. And yet, despite its eerie stillness, there is an invitation in the ascent, a pull toward whatever lies beyond that burning light. Scott’s use of space and texture suggests a deeper narrative—one that asks questions rather than provides answers. Is this the remains of a place long abandoned, or is it on the cusp of revival? Is the light a promise or a warning? The ambiguity makes the piece linger in the mind, much like the afterimage of a dream. This is the power of Scott’s work—he creates spaces that feel like memories, places that hold secrets, where decay is not an end but a transformation. His art captures the poetry in ruin, reminding us that even in the shadows, light nds its way through.

ISSUE #01GENERATIVE26nagawa luleDid you know a hug can rebuild a child’s world? When trauma strikes, simple acts of love can rebuild their sense of safety and trust. Like my niece reminds me, empathy, a teddy bear’s comfort, a patient ear help them thrive. Embody their beacon of hope with reseach-backed care.Lule’s “Robots with Empathy & Teddies” is a striking juxtaposition of the mechanical and the deeply human, weaving together sci- aesthetics with themes of comfort, resilience, and childhood innocence. Her work presents an imagined future where towering, armored machines are not just instruments of war or industry but vessels of care, kneeling to meet the vulnerability of children in need of solace. The presence of the teddy bear—a universal symbol of security and warmth—softens the cold metal, transforming the robotic into something tender. It’s a compelling vision of a world where technology does not replace humanity but enhances its capacity for compassion.Thematically, the collection explores the healing power of simple gestures. Lule’s description ties her work to real-world trauma recovery, where acts of kindness—like the gift of a teddy bear or an understanding presence—help children rebuild their sense of trust. Her futuristic setting doesn’t diminish the emotional weight of the imagery; rather, it amplies it, reminding us that no matter how advanced or mechanized our world becomes, empathy remains essential. There’s a poignant contrast between the synthetic and the organic, highlighting both the resilience of children and the transformative power of care.Lule’s artistic voice is a fusion of adventure, inclusion, and sci- storytelling, inuenced by London’s multicultural vibrancy and her global experiences. Her work calls to mind the tender emotional depth of Studio Ghibli’s worlds and the cybernetic wonder of Ghost in the Shell—yet, at its heart, it remains uniquely hers. “Robots with Empathy & Teddies” is a reminder that even in the most futuristic landscapes, the need for love, understanding, and connection never fades.Nagawa Lule is a London based artist who celebrates inclusion and adventure through vibrant watercolours and digital art. She draws inspiration ftom the city’s diversity, world travels and her love of sci-fi.

GRAMMATIKMARCH 202527

ISSUE #01GENERATIVE28lindacathcartLinda Cathcart’s collection is a masterclass in romanticism, femininity, and storytelling through visual opulence. Her work fuses Art Nouveau sensibilities with contemporary digital renement, creating pieces that feel both nostalgic and strikingly modern. There’s a cinematic quality to her subjects—women adorned in owing fabrics, caught in dynamic movement, or gazing with a sense of mystery and longing. The interplay of light, texture, and composition in her art evokes the ethereal elegance of classic paintings while remaining distinctly fresh in execution.Her fascination with storytelling is evident in the diversity of her subjects. From windswept heroines in Victorian lace to poised “Art should be beautiful and sensual, a dance between form and emotion.” – Alphonse Mucha

GRAMMATIKMARCH 202529and enigmatic geishas, Cathcart crafts narratives that seem lifted from literature or history, each imbued with emotion and atmosphere. The details—whether it’s the crisp folds of a dress, the golden shimmer of embroidery, or the way light caresses a porcelain cheek—reveal an artist deeply attuned to the poetry of visual form. Her work engages in a dialogue between reality and fantasy, allowing viewers to immerse themselves in imagined histories or untold stories.The piece titled “1” (page 30, center left) is a breathtaking exploration of light, movement, and grace. The subject, a red-haired woman in a owing white and blue gown, is depicted with an upward gaze, her expression a mix of wonder and deance. There’s an almost celestial quality to the way her hair oats, echoing the swirling lines of her dress. The delicate detailing—particularly the lace, folds, and rues—demonstrates Cathcart’s meticulous craftsmanship. The background, suggestive of ight or elevation, enhances the sense of weightlessness, making the piece feel suspended in time, caught between dream and reality. It recalls the grandeur of Pre-Raphaelite portraiture yet remains unmistakably

ISSUE #01GENERATIVE30contemporary.In “Woman in White Silk,” (bottom) Cathcart shifts into a more subdued, introspective mood. The subject, adorned in an ethereal white veil, stands with an air of quiet solemnity. The gauzy fabric drapes her like mist, partially obscuring her form and adding a sense of fragility and distance. The muted color palette—soft creams, cool grays, and subtle hints of warmth—creates a delicate contrast, emphasizing the subject’s luminous skin and enigmatic gaze. The presence of a glass case in the composition suggests themes of preservation, memory, or perhaps even entrapment. This work carries echoes of John Singer Sargent’s rened elegance, yet there’s a modern stillness to it, a contemplation of identity, time, and impermanence.Cathcart’s collection is a triumph of storytelling through portraiture. Whether capturing the wild abandon

GRAMMATIKMARCH 202531of movement or the hush of a quiet moment, her work invites viewers to step into worlds where beauty, strength, and vulnerability coexist. These are not just portraits; they are narratives, capturing eeting expressions, emotions, and histories frozen in time. Through intricate detail and masterful lighting, Cathcart crafts a visual language that speaks to the timeless allure of the feminine form, reinterpreted with contemporary artistry.Cathcart’s collection is a triumph of storytelling through portraiture.

ISSUE #01GENERATIVE32cjfletcher“Punk was never just about the sound—it’s an attitude, a refusal, a creative rebellion that survives in every form of art.” — Henry Rollins

GRAMMATIKMARCH 202533CJ Fletcher’s “The Faces of Punk (collection)” (left) is a striking exploration of individuality, rebellion, and the evolution of punk culture. Each portrait captures the raw energy of punk’s spirit, not in youth, but in seasoned deance—proof that punk isn’t just a phase, but a lifelong ethos. The subjects wear their histories in ink, chains, and deant gazes, embodying punk’s refusal to conform, even as time reshapes them. These images challenge the idea that rebellion has an expiration date, showing instead that self-expression only deepens with age. The range of styles within the collection is striking—some gures retain the raw, DIY aesthetic of classic punk, while others have evolved into something more rened yet no less rebellious. A man in suspenders, his tattoos a roadmap of past deance, stares unapologetically at the camera. Another, clad in an intricately embroidered sweater, dees expectation—an elegant form of punk that challenges the stereotype of grizzled aggression. A gold-adorned gure exudes rockstar condence, while a man in a skirt upends gender norms with eortless poise. Even the stark image of a man with a sunower—nature and punk juxtaposed—feels like a quiet act of deance. What makes this collection so powerful is its nuanced understanding of what it means to be punk. It acknowledges that rebellion isn’t always loud—it can be a quiet refusal to adhere to expectations, a deliberate decision to wear something unexpected, or simply a way of carrying oneself with unapologetic condence. Punk is in the details: the weathered hands gripping a belt loop, the tilt of a head that speaks of a lifetime of battles fought and won, the way jewelry and fabric choices subvert traditional notions of masculinity. Fletcher’s subjects are living proof that punk’s impact doesn’t diminish with time—it simply transforms. Additionally, “The Faces of Punk” serves as a celebration of diversity within the subculture. There is no singular way to be punk, and this series embraces that reality. It challenges the image of punk as solely an angry, youthful movement and instead presents a broader, more inclusive portrait—one where elegance and grit, tradition and rebellion, coexist. By capturing individuals who have carried punk’s torch into their later years, Fletcher reminds us that true self-expression never ages. It only gets bolder.

ISSUE #01GENERATIVE34THEOUTROGenerative art is more than a process—it’s a conversation between creativity and technology, between human intention and algorithmic chance. The works in this issue are testaments to that dynamic interplay, where artists don’t simply create, but collaborate with machine intelligence to push the boundaries of expression. Across these pages, we see the past reimagined, the future speculated upon, and the present deconstructed in ways that traditional methods could never fully grasp. This is art that questions, evolves, and transforms before our eyes, proving that generative tec hniques are n ot just tools, but voic es in their own right. What stands out is how generative art amplies themes of identity, memory, and transformation. Mimi’s longing for home, Nagawa Lule’s fusion of robotics and empathy, and Roger Scott’s experimental textures all illustrate the ways machine learning can enhance deeply human narratives. In these pieces, AI is not a replacement for artistic vision—it’s an extension of it, a co-creator in the storytelling process. These works reveal that generative art is not about erasing human touch, but rather about expanding its reach, giving form to what was once impossible. This Isn’t Art as You Know It. It’s Art That Knows You. This issue also challenges preconceived notions about art and authorship. What does it mean to create when the artist and the algorithm are entwined? Where does intent end and randomness begin? The artists here navigate those questions, using AI to amplify their messages, whether through bold political satire, haunting portraiture, or surreal dreamscapes. The result is a collection that doesn’t just showcase technical innovation, but emotional depth—proof that generative art is just as much about feeling as it is about form. Ultimately, this collection reminds us that art, no matter the medium, is about connection. These works transcend code and computation, resonating with something deeply personal and profoundly universal. They challenge us to embrace new forms of creation, to see beauty in the unexpected, and to recognize that art is not just about what we make, but how we evolve in the process. As we step away from these pages, we don’t leave these images behind—they follow us, shifting our perspectives, reminding us that creativity, in all its forms, is limitless.

GRAMMATIKMARCH 202535THETHANKSYo. Massive shoutout to everyone who made this project happen—the artists who contributed, the ones lurking in the wings waiting for this issue to drop (we see you!!), and every single person out there making and appreciating art. You’re the fuel. You’re the chaos. We love it. Special thanks (in no particular order, because we don’t do order) to the artists at Colfax Designs, Brian Almon, and Caius Designs. You make me better, push me harder, and remind me that there’s always another level to reach. Kyle and Leah—what can I even say? You gave me a home. A place to let my weird, subversive, slightly unhinged brand of art live. Can’t thank you enough for that. And to the Irregulars... (deep sigh). You glorious, ridiculous mists. You keep me making art. Every single one of you is an artist—whether you admit it or not. Stay curious, stay messy, stay hilarious. Keep wrecking the algorithm with your brilliance. One day, the next generation will realize how much fun you’re having and promptly boot us out. And honestly? That’ll be a hell of a day. Finally, a nod to the ones who get it—and a wink to the ones who don’t. One day, you’ll come around. Or, y’know, the robot overlords will make you. (I, for one, welcome our robotic overlords. It’s documented now, so I should be safe when the Purge happens. Capital P.) Onward.

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