Speculative Paleontology
Speculative Evolutionary Tree
On this page, I present an imaginary evolutionary tree, built from algorithmically generated future species. It unfolds a fiction of life across several invented geological eras, each one a layer of time in which life reinvents itself without end. Every branch opens onto a hypothesis, every form onto a possible mutation.
The tree offers a walk through the heart of speculative evolution, where creatures imagined with ComfyUI become witnesses to a future still invisible. The aim is not to represent a stable nature, but to follow its successive transformations, its collapses, its recoveries and its bifurcations. This structure becomes a visual narrative of life in the making.
Through this fictional cartography, I seek to make perceptible the continuity between forms, ruptures and rebirths. The tree functions as a mental model as much as a path between the works. It gives access to an invented but coherent genealogy, where each species participates in writing a world to come.
Invented Eras for a Probable Future
The evolution of this tree unfolds across several imagined eras: the Anthropocene, the Plasticene, the Neo-Carboniferous and the Neo-Organisms. Each of these periods corresponds to a radical transformation of life, often preceded by a collapse that makes way for new forms. The narrative advances through successive disappearances and primitive recommencements.
In this fictional chronology, each rupture marks a return toward elementary bacterial forms, as if life always had to restart from zero in order to reinvent itself more fully. This cycle of destruction and recomposition makes it possible to imagine other logics of adaptation. It offers a vision of a future where evolution is no longer linear, but made of returns, detours and reorganisations.
These invented eras do not seek to predict the future, but to explore its possible thresholds. They serve as a framework for meditating on the resilience of life and its capacity for transformation. The tree then becomes a temporal atlas of mutation.
From Pixel to Matter
The species that make up this tree are produced by generative algorithms, then deployed across different states of presence. Some exist in digital form, others as NFTs on objkt.com, and others still as holograms integrated into sculptures. This circulation between supports extends their existence and gives them several modes of appearance.
The passage from one medium to another creates a continuum between image, object and trace. Each creature changes status according to its environment, while maintaining a lineage with the other forms in the series. The digital is not an endpoint here, but a stage in a larger process of transformation.
This way of working makes it possible to inscribe the works within a visible family tree, where each version becomes a variation of the same species. The NFT, the hologram and the sculpture thus participate in the same imaginary genetics. Together they tell how a form can migrate, mutate and take shape across multiple realities.
Lineage of Digital Works
This tree reveals the work of lineage that gives birth to my digital works and my NFTs. It makes visible the links between generations of images, formal evolutions and transitions from one state to another. In this logic, no work exists in isolation — each is connected to a chain of transformations.
Lineage here is not only biological or aesthetic; it is also narrative and speculative. It allows us to understand how one form can generate another, how an image can become a body, then a trace, then projected matter. This process builds a dynamic memory of my practice.
By displaying this genealogy, the tree proposes a wider reading of my artistic universe. It becomes a structure of transmission between works, but also between the worlds they invent. Through it, the viewer perceives the invisible links connecting images, objects and the futures they carry.
From Consciousness to Matter
Drawing on the work of Philippe Guillemant, it becomes possible to imagine a collective consciousness capable of giving rise to extraordinary organisms in the future. This idea opens a reflection on the relationships between perception, imagination and the emergence of life. Art can then become a space where shared forms of thought are experimented.
But beyond projection toward tomorrow, what matters above all is to make room today for the living that is already seeking to transform itself. The artist's role is not to freeze this mutation, but to accompany it, to make it visible and to offer it a place of welcome. The work becomes a zone of cohabitation between beings, forms and possibilities.
In this sense, this evolutionary tree is not only a speculative fiction. It is also an invitation to recognise the forces of transformation already at work on Earth. And perhaps to ask ourselves how we too can continue to accompany these metamorphoses — and be transformed by them.