Orbital Room / Pre-Body Interface comes from the painting Eros Gradient (inv. AMPC2022002), photographed and used as image input in an early generative app along with Lankina’s repeated “God is a woman…” spell. The model translates its soft peach and neutral gradients into a near bodiless form: a pale figure folding forward as if caught mid descent, its anatomy sliced and distributed across color planes. A dark sphere floats near the lower edge, like a wayward planet or calibration mark, echoing the orb logic already present in the analog work.

That AI image is output onto Fujifilm Instax Mini film, fixing it as a small physical card without changing its basic structure or glitches. The peach wall behind the figure tilts and folds like a membrane, half interior and half interface. “Orbital Room” names the space as a rotating chamber oriented around that dark sphere, and “Pre-Body Interface” points to the figure’s incomplete state, a prototype avatar still in assembly. Inside Deities and Oddities. it sits closer to abstraction, a pre-person stage where the system has begun to write a body but has not yet committed.

AI generated image printed on Fujifilm Instax Mini color film, 1/1, created using a photograph of the analog painting Eros Gradient (inv. AMPC2022002, from Archetypes on Quiet Ground, 2022) as image input together with the recurring prompt “God is a woman. Freckles. Bare skin. Linen. Crack in plaster. Love over death. Inspiration over desperation. Surrealistic interpretation,” then printed onto Instax Mini instant film as a one of one artifact.