Sharing some insights and personal thoughts about my last AI film Electric Mom on my last post. I hope you’ll enjoy reading it. 🖤
After a fatal accident, Noah attempts to resurrect his wife, Hannah, as an artificial mother, training her new body on fragments of the woman he lost. Created for care and obedience, this artificial version of Hannah is shaped both by the traces he chooses to preserve and by those he erases. What begins as a gesture of love gradually reveals itself as a form of possession.
While writing this post, I thought again about how artworks work for me. They hold meaning, but at their edges they stay open, unfinished, still pointing elsewhere. My last AI film Electric Mom grew from that edge. Six months after Clara, I made this film for my second release with Objkt labs Residency and Anika Meier, Encoding Body, as an early murmur toward a more technological, posthuman register, something still in motion.
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Sharing some stills from Electric Mom (AI film, 2:34, 2025), and realizing the film was also about leaving. Leaving behind family duty, maternal love, and the trust of companionship. Leaving all of it to choose the unknown, and to follow what has been calling to her since her rebirth.
After a fatal accident, Noah attempts to resurrect his wife, Hannah, as an artificial mother, training her new body on fragments of the woman he lost. Created for care and obedience, this artificial version of Hannah is shaped both by the traces he chooses to preserve and by those he erases. What begins as a gesture of love gradually reveals itself as a form of possession.
Electric Mom is a quiet posthumanist tale in which an artificial mother, created to resurrect a lost wife, awakens not through memory but through embodied perception, gradually slipping beyond the confines of care and obedience. Through a subtle, sensorial emancipation, the film reframes love and autonomy as incompatible with possession, allowing its machine protagonist to claim a life of her own.
🎞️ Electric Mom, AI-generated film, color, silent (as part of my Objktlab release Encoding Body on Objkt)
🔗in bio
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🎞️The Waters it came from, AI found-footage, now available on @cifraworld
The film is built from AI archival found footage. Through AI-generated images, it reconstructs intimate scenes of women gathering, helping each other access abortions, learning about their own bodies, and supporting one another. The film is set in the late 1970s, in the years following the Veil Act (Loi Veil) of 1975, the legislation introduced by Simone Veil that decriminalized abortion in France after decades during which the procedure had been illegal.
The subtitles that run through the film are the words of a woman thinking through her own abortion, plainly, without justification. Her inner voice is neither apology nor explanation, simply thought.
The sound is a low, persistent noise, for me a reference to the undercurrent of a continuous, perpetual fight that never fully disappears, and that is still happening today.
Taking as its main inspiration the documentary Regarde, elle a les yeux grand ouverts ("Look, her eyes are wide open"), directed by the MLAC Collective and Yann Le Masson, the film focuses on the women who continued to organize in the aftermath of the law. Despite legalization, access to abortion remained deeply uneven: many doctors invoked the conscience clause to refuse to perform the procedure, hospitals lacked the staff and resources to meet demand, and women in rural areas or with limited finances faced significant practical barriers.
Groups like the MLAC (Mouvement pour la liberté de l'avortement et de la contraception) continued to operate outside the law to fill that gap, providing abortions clandestinely and facing prosecution for it, most notably in the 1977 Aix en Provence trial, where six activists were convicted for helping a minor access the procedure.
🔗 in bio
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🎞️ My last AI short film "The Waters it came from" built from AI archival found footage is now available on @cifraworld
Through AI-generated images, it reconstructs intimate scenes of women gathering, helping each other access abortions, learning about their own bodies, and supporting one another. The film is set in the late 1970s, in the years following the Veil Act (Loi Veil) of 1975, the legislation introduced by Simone Veil that decriminalized abortion in France after decades during which the procedure had been illegal.
Taking as its main inspiration the documentary Regarde, elle a les yeux grand ouverts ("Look, her eyes are wide open"), directed by the MLAC Collective and Yann Le Masson, the film focuses on the women who continued to organize in the aftermath of the law. Despite legalization, access to abortion remained deeply uneven: many doctors invoked the conscience clause to refuse to perform the procedure, hospitals lacked the staff and resources to meet demand, and women in rural areas or with limited finances faced significant practical barriers.
🔗 in bio
#experimentalfilm #contemporaryvideo
#aifilm
Incredibly honored to share that Electric Mom has been selected for the AI Film Award at Cannes 2026, an amazing stage in the world for AI-driven cinema.
After a fatal accident, Noah attempts to resurrect his wife, Hannah, as an artificial mother, training her new body on fragments of the woman he lost. Created for care and obedience, this artificial version of Hannah is shaped both by the traces he chooses to preserve and by those he erases. What begins as a gesture of love gradually reveals itself as a form of possession.
Electric Mom is a quiet posthumanist tale in which an artificial mother, created to resurrect a lost wife, awakens not through memory but through embodied perception, gradually slipping beyond the confines of care and obedience. Through a subtle, sensorial emancipation, the film reframes love and autonomy as incompatible with possession, allowing its machine protagonist to claim a life of her own.
A huge thank you to @aifilmawards for championing this new wave of filmmaking and for building a global platform where AI-driven creativity gets the recognition it deserves.
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#aifilm
Memory from Art After Dark: TezDev Cannes, showing my last film Electric Mom 🎞
Thank you @objktcom for including the film in your beautiful curation 🖤
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AI archives, lastest ouputs. Thoughts and works in progress, still having fun with what should be in our collective memory.
Currently experimenting with new parameters and building different imagery of necessary violence, material transformation and networks.
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Latest diffusions. Just generating more existence, and moods that don't last.
On the current stage of finding other shapes and presences that should have been there.
Nothing surreal or definitive.
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In my last AI-film Electric Mom, Noah’s ideal hope was for Hannah to remain the same as before, only better. Whether the body was organic or synthetic was not supposed to make any real difference.
She was meant to stay “herself” after her death, and the body would simply follow. He believed that only spirit and memory would be enough to define her. A separation between mind and body I think most of us have encountered in our everyday life.
For me, Noah’s vision has consequences that are not innocent. This way of treating mind and memory as if they could exist independently from the body always makes me feel suspicious. If the body matters less than the memories, it is still fetishized. It may become valued only for optimization and performance, but also treated as less worthy of respect in itself.
In the film the body is already living in the present before memory can cover anything. Hannah’s body is not just a container, and memories alone cannot carry identity. Her growing consciousness is not a floating substance. It comes from the body and how her material presence meets the space, second by second.
Personally, I am usually more drawn to the intuition of the body holding everything together primarily. And in Hannah’s case, it is also what starts to pull her away from family duty.
So, ironically, it is through matter that she finds her desire to leave, far from Noah’s ideal.
🎞️ Electric Mom, AI-generated film, color, silent
🔗in bio
#experimentalfilm #contemporaryvideo
#aifilm #ai #aivideo
In my last AI film Electric Mom, as cyborg Hannah keeps encoding the world in a constant flow of data, she pauses on a dead tree and says, almost flatly: “The oak in the garden died a long time ago. It never resurrected.” The oak is simply gone, and it will not return.
Unlike her, it has no second body, no engineered continuity. Hannah isn’t really describing the tree. She’s tracing the outline of her own before and after. The oak becomes the life that ended without replacement, a body that never got a new version.
Here, creating spaces was like characters.
The house feels quiet and limited at first, but not sealed. It holds machines, habits, organisms, and something restless beyond the garden.
In the middle of the film, what used to be background becomes impossible to ignore, the hum of the house, the breath of machines, the insistence of the garden.
🎞 in bio
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#aifilm #ai #foundfootage
Goodnight 2025. And thank you 🖤 I am not sure I can fully process a year like this yet. I need to pause, with a full heart.
The months behind me were intense and transformative, and I am grateful. I created two AI films, took part in several exhibitions and publications, and received an award. Along the way, I formed meaningful connections with people whose sensitivity and vision left a longlasting mark on me. I am deeply grateful for @anika 's wisdom and support, which I will carry with me in the years ahead. I am also thankful to my fellow friends and artists, the Objkt Labs Residency team and mentors, @thesecondguess , @cifraworld , @the.ai.art.magazine and @fisheye_immersive for their trust and support.
For all of it, I am happy, and I move forward, I hope, without fear. Once again, I return to the question of what it means to create in the present moment. As I felt last year, and as horror continues to shape so much of our shared reality, making art, as a way of exploring what it means to be human and our relationship with the world and with technology, remains vital.
There is much for me to learn, to refine, and to discover. I wish everyone a new year filled with care and strength. May we continue to protect what matters most, our lives, our bodies, our voices, and those we love. ❤️
"I was drawn to the notion of autonomy emerging within something engineered for obedience. The artificial mother is programmed for emotional and physical servitude, yet it is precisely within this framework that an unexpected consciousness begins to form. Through her, I wanted to explore how selfhood might arise inside systems built to deny it."
Happy to share my last interview on @objktcom M A G about the film Electric Mom as part of my Objktlab release Encoding Body, with artist @salawakii and curator @anika 🙏
The film unfolds within a domestic space where memory, desire, and technology intertwine. After the death of his wife, a man recreates her as an artificial mother programmed to care and obey. As the machine develops a sensorial consciousness independent of memory, she gradually awakens to her own autonomy and quietly leaves the family that sought to possess her.
🔗in bio to read the interview and watch the film
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