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Permanent Tomorrow
Stories from the Near Future
Filmmaker/ AI Creator
I am a filmmaker in a time when the image is reinventing itself.
For over 20 years, I have been telling stories for industrial, institutional, and technology-driven companies — through corporate films, product films, explainer formats, and recruiting films. My work begins where complex ideas search for a visual language: clear, precise, emotional, and attuned to the essence of a message.
For me, film has always been more than a sequence of moving images. It is craft, attitude, rhythm, light, sound, montage — and the art of turning thought into atmosphere. I accompany projects holistically: from the first idea, concept, direction, and camera work to editing, motion design, and post-production.
At the same time, I am experiencing and shaping a profound transformation: the evolution of film from a craft-based discipline into an expanded, AI-generated visual world. To me, artificial intelligence is not a rupture with cinema, but a new layer of its language — a tool that makes imagination visible before it has ever been filmed.
In my work, I combine classical film production with AI-based workflows: generative image and video worlds, text-based editing, visual concept development, and hybrid productions in which live-action footage and artificially generated elements begin to merge.
I do not see AI as a replacement for the human gaze, but as an extension of cinematic thinking. Because at the beginning of every strong film there is not technology, but an idea, an attitude, a feeling. The tools are changing. The search remains the same: to create images that tell something beyond the visible.
Secret Documents
Something went wrong during the mission.
What began as a routine lunar operation slowly turned into something that was never officially explained. Deep within the silence of the moon, two astronauts encounter an impossible scene: a lone figure sitting beside a small fire made of burning equipment — helmet removed, hands exposed to the vacuum, as if the rules of reality no longer apply.
Shot in the style of archival 1970s NASA documentary footage, this experimental short film blends cinematic AI visuals, analog aesthetics, and psychological mystery into a surreal lunar encounter that feels disturbingly real.
Is it lost footage?
A distorted memory?
Or evidence of something humanity was never meant to see?
Watch closely.
Something feels wrong out there.
Stuck in a Time Loop (2026)
A man finds himself trapped in subtle repetitions as the world around him slowly begins to shift and collapse.
Familiar moments return with small changes, until the line between observation and distortion starts to disappear.
Created with AI as a cinematic storytelling tool, the piece explores repetition, perception, and the fragile feeling of reality becoming unstable.
MILOs Assistent
99 Seconds of the Future
“MILO’s Assistant” initially appears to be a gentle vision of a technologically supported childhood - safe, efficient, and caring.
Yet beneath this calm surface lies a critical reflection on the role of artificial intelligence in human development. The floating robot does not merely act as a helper, but also as a silent observer - perhaps even an invisible educator. It recognizes emotions, responds to needs, and seems to continuously analyze the child’s behavior.
This raises a central question: who is really shaping whom? Children are growing up in a world where technology is omnipresent - not as a tool, but as a companion and potentially an authority. The presence of countless identical robots reinforces this impression: individuality may gradually give way to optimization and control.
At the same time, the film remains deliberately ambiguous.
The AI does not appear threatening, but friendly, calm, and almost affectionate. And that is precisely where the true unease begins: if control feels comforting, will it still be questioned at all? Will the next generation grow up in a reality where care, surveillance, and influence can no longer be clearly separated?
It is long overdue to reflect on trust, autonomy, and the invisible boundaries between support and paternalism.
Between criticism and potential
New every Sunday!
AI ART – Thoughts on creativity in transformation
This channel moves between documentation, artistic practice, and reflection.
At its core are two directions: On the one hand, archived interviews and documentary material - conversations, thoughts, and perspectives that emerged in a different context and can now be revisited from a new perspective. On the other hand, current works situated in the field of tension between art and artificial intelligence. The series “AI ART – Thoughts on Creativity in Transition” explores how artistic work is changing through new tools - not only technically, but also in perception, thinking, and the understanding of authorship. This channel is not intended as a guide or tutorial, but as an ongoing exploration. It is less about answers than about observation: about processes, ruptures, and shifts. Between analog experience and digital transformation, a space emerges in which questions become more important than finished results. New content is published regularly.
Photographic Works (completely AI free!) :-)
SOZOPOL (2025)
Sozopol
This series is a quiet encounter with things that wait.
Small fishing boats rest in the harbor — marked by salt, touched by hands, shaped by the wind. Their colors are not decoration, but memory. Every notch, every trace of chipped paint carries a story of labor, of early mornings, of return.
Here, light takes the leading role.
It falls sharply onto metal and wood, breaks through clouds, settles softly on hulls. It transforms objects of use into fragile sculptures. For a moment, the boats no longer seem merely functional, but vulnerable — almost human.
Between sky and water, a space of silence emerges.
The series does not speak of movement, but of pause. Of the time between two departures. Of breathing. Of aging with dignity.
It is a gaze upon the unspectacular — and upon the beauty that appears when one looks long enough.
Fine Art
Fine Art
STRUCTURES of WOOD and STONE
Anatomy of Time
This series explores the threshold between organic growth and erosion.
Tree trunks split open, roots penetrate stone, wood splinters and decays. The forms appear almost anatomical — cavities recall eye sockets, surfaces resemble skin, structures evoke bone. What first appears as landscape gradually transforms into a study of formation and change.
Through the reduction to black and white, materiality moves to the foreground. Bark, rock, and exposed wood fibers are shaped through tonal values and directed light. The light does not stage; it reveals volume, density, and vulnerability.
The photographs move between growth and collapse, tension and stillness. Natural elements merge with traces of human intervention — stone walls, cut surfaces, constructive remnants — forming hybrid spaces in which construction and decay exist side by side.
The series understands time as a physical force. Not as an abstract measure, but as pressure, rupture, persistence. It is less a depiction of nature than an investigation of matter under duration.
