Memory preserves the essence of an event, yet gradually softens its contours. The photographs I took between 1977 and 1981, during my adolescence, are fragments of a past that remains vivid in emotion but increasingly distant in form. These images, emotionally charged, have become iconic within the personal archive of memory, emerging not as documentation but as subjective echoes.

Through artificial intelligence, I have explored the lost edges of those memories, expanding their fragments into a new, near-truth. A constructed “non-memory” that now exists and blends with the original—like the face of someone seen after many years, where the present reshapes the past in our minds.

In a further evolution, I incorporated photographs of my mother and father, extending the notion of memory beyond the personal. Here, remembrance and its reflection merge, generating new horizons for exploration. The result is an expanded memory space where image, imagination, and inheritance become inseparable.

This project stands at the intersection of photography and generative art—a territory where two seemingly distant practices begin to converse. Photography contributes its visual grammar: the appearance of reality, the compositional instinct, the sense of presence. Generative art, by contrast, offers a system-based logic, the aesthetics of emergence, and the infinite variability of code. While photography captures a moment fixed in time, generative processes suggest an open temporality: images that are not evidence of what was, but proposals of what might have been.

The Memory of What Never Was challenges the very notion of visual truth. These are not images that aim to deceive, but to evoke. They speak not of fact, but of felt experience. The archive they form is one of non-events—yet they resonate with the intimacy and texture of lived memory. In this way, they reflect a new kind of memory: artificial, synthetic, yet deeply human.

In a time when digital images can be endlessly altered, replicated, or fabricated, this body of work reclaims artificial intelligence not as a cold instrument, but as a poetic medium. Here, AI is used to amplify the ambiguity of memory, its elasticity, its emotional afterglow. The image becomes not a record of what was, but a simulacrum of what was possible.

The Memory of What Never Was becomes an exercise in visual imagination, a catalogue of impossible recollections, a journey through the latent terrain of memory that never happened. It is a poetics of thresholds, of absence and invention. And it invites us to reconsider identity, time, and the way we inherit images—not as fixed truths, but as evolving reflections.

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Limited edition of 5 numbered prints. Available in two sizes: 70 cm or 100 cm on the long side.