In the abandoned corridors of a 19th-century textile mill, the oppressive stillness of a 1930s prison, and the fading grandeur of a railway cathedral, an invisible presence lingers.

This series, ‘The People Are Real’, explores the paradox of absence. Although these spaces are generated by algorithms and the human figures have long vanished, the traces they left behind—the rust, the peeling paint, the way light falls into an empty shower stall—feel more authentic than ever.

It is an encounter between the cold calculation of Artificial Intelligence and the warm, dusty history of our industrial archaeology. The title serves as a provocation: in a world of synthetic imagery, the only constant remains the genuine human emotion of the observer.