A great concert poster does more than announce a show. It creates anticipation before the audience hears the first song. For this project, I designed a complete poster series for Solya’s Queen of Texas concert at The Canal Club in Richmond, Virginia. My goal was to build a visual identity that captured her music, personality, and stage presence.

Building the Atmosphere

I drew inspiration from Solya’s Queen of Texas era and blended gothic romance, dream pop, surreal Americana, fashion photography, and sacred symbolism into one cinematic world. Instead of creating standard promotional artwork, I treated every poster like a frame from an independent film or a luxury fashion editorial.

The series places Solya inside a dreamlike version of the Texas desert. Empty highways, abandoned motels, vintage roadside signs, telephone poles, oil pumps, drifting dust, roses, and oversized moons appear throughout the collection. Together they create a lonely yet beautiful landscape that feels both nostalgic and mythical.

Defining the Character

Solya stands at the center of every composition. Flowing ivory dresses, delicate halos, sapphire crosses, and restrained expressions give her an almost timeless presence. She feels mysterious, powerful, vulnerable, and unforgettable all at once. Each poster explores a different emotion while maintaining the same visual language.

Designing for Typography

I designed every composition with typography in mind from the very beginning. I left generous negative space and balanced each scene around the title and event information. The photography and graphic design support each other instead of competing for attention.

Blending AI with Traditional Design

I combined Generative AI with traditional design tools throughout the project. I used Midjourney to explore concepts and generate imagery. I used Figma Weave to experiment with layouts and creative directions. I finished every poster in Adobe Photoshop, where I composited images, refined colors, retouched details, integrated typography, and prepared the final artwork.

AI supported my creative process, but it never replaced design thinking. I directed every image, selected every composition, and refined every detail until the series felt cohesive and intentional.

Final Result

The finished collection presents a cinematic identity for the concert while expanding the visual language of the Queen of Texas album. The posters combine music, fashion, photography, graphic design, and emerging AI tools into one unified campaign that feels haunting, elegant, and distinctly contemporary.

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Journaling is an ongoing personal project where each day becomes a short video diary entry. Instead of traditional writing, the diary takes the form of surreal self-portraits, sculptural busts that resemble fragments of the self. These portraits become the narrator of the day. Each entry begins as a written reflection: a small observation, a memory, a thought about the day. That text becomes the voice of the portrait.

Using generative tools, the process unfolds across several stages:

First, I design the portrait using Midjourney, exploring surreal interpretations of the human head and bust as containers of thought, memory, and mood. The selected portrait is then animated with HeyGen, where the bust recites the diary entry, transforming a static image into a speaking presence. The narration itself is also generated through AI voice synthesis, creating a strange but intimate effect: the portrait becomes both author and narrator of the daily reflection.

Finally, the pieces are assembled in Adobe Premiere, where the visual rhythm, sound, and pacing shape the final diary entry. The result is a hybrid between personal journaling, experimental portraiture, and AI-assisted filmmaking, a daily practice that explores how technology can mediate memory, identity, and storytelling.

Each entry is small. But over time, they accumulate into a living archive of thoughts, images, and days.

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LUX is an ongoing generative film cycle inspired by the music, symbolism, and emotional architecture of Rosalía’s album LUX. Created using a hybrid workflow of AI image generation, AI video synthesis, and traditional film editing, each piece explores the tension between the sacred and the synthetic, the corporeal and the algorithmic, devotion and distortion. Rather than illustration or adaptation, LUX functions as a cinematic response, a visual meditation on sound, rhythm, memory, and ritual translated through machine vision.

Conceptual Approach

These films are not narratives in the traditional sense. They operate as visual poems: fragments of gesture, texture, and movement that echo the emotional states of the music. Flamenco, religious iconography, industrial minimalism, and surrealist collage coexist inside environments that feel simultaneously ancient and computational. AI is treated not as a shortcut, but as a performer, a collaborator capable of hallucination, failure, and beauty.

Technical Process

Each film is built using a custom pipeline that blends:

• Weavy.ai for orchestration, sequencing, and managing the generative workflow.

• Midjourney for conceptual imagery and visual world-building.

• Kling for AI-driven motion, transformation, and temporal distortion.

• Adobe Premiere for editorial rhythm, pacing, and final cinematic assembly.

This process allows for precise control over mood and symbolism while preserving the unpredictability that makes generative systems expressive.

Status

LUX is an ongoing series. New films will continue to expand this universe, responding to additional tracks and evolving alongside advances in generative tools.

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The images are developed through a hybrid creative process that blends traditional artistic exploration with contemporary generative tools. Each piece begins with loose sketching and photographic studies to establish composition, gesture, and spatial balance. From there, generative AI is used as a visual exploration engine to experiment with unexpected combinations of forms, textures, and patterns. The results are then refined through digital illustration, where color, line, and atmosphere are carefully shaped into the final artwork.

This oscillation between mediums allows intuition and technology to interact throughout the process. Rather than replacing traditional methods, AI becomes one layer within a broader artistic workflow that includes drawing, photography, and digital craft.

The series is produced as premium giclée satin prints (11 × 14 inches) and is currently available at STUFF-RVA and DAGNABIT! shops in Richmond. Each print is part of the Pheromones series and is individually numbered.

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