Ruin Carrier / Future Relic is also seeded from Scrape Offering / 72 x 36’ (inv. 8APMMC16187236), photographed and fed into an early AI model with the same fixed “God is a woman…” incantation that runs through the whole cycle.  Here, the model leans harder into the painting’s sense of abrasion and vertical drag, translating it into a body partially fused with slab like forms that resemble fragments of wall or column. The figure appears to be bearing these elements rather than simply standing beside them, as if the architecture has become both costume and cargo.

Printed as a Fujifilm Instax Mini one of one, the piece exists as a small card where this hybrid of person and wreckage can only ever be encountered at intimate distance. “Ruin Carrier” names the role directly, a mythohuman figure hauling pieces of a former structure, while “Future Relic” points to the odd time signature of the work: an image produced by contemporary software that already looks like damage documentation from some later era. In the context of Deities and oddities. it operates as a quiet thesis on what these beings are doing, which is carrying the remains of one visual system into the next.

AI generated image printed on Fujifilm Instax Mini color film, 1/1, created using a photograph of the painting Scrape Offering / 72 x 36’ (inv. 8APMMC16187236, The Ascension Codex, subseries Make Me Pure Just Not Yet) 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.