AI has made visual creation accessible to almost anyone. goo.vision is one of the artists showing what happens when someone builds a real body of work with it. We spoke to him about his philosophy, his process, and where the medium goes next.
ith AI becoming an increasingly common part of the conversation around art, more and more artists are using these tools to see what they can do. We believe goo.vision is one of the artists currently showing just how far that can go.
AI makes it incredibly easy to produce an image, but that can also make it easy for the work to become repetitive or uninspiring. What we find different about goo is that he's developed a style that feels completely his own, while consistently coming up with original ideas, concepts and scenes that connect with a large audience. He now has more than 100,000 followers on Instagram and around 47,000 on X, with strong engagement across both platforms.
We've had the chance to look a little closer at the person behind the work, known outside of goo.vision as Samuel, and understand more about how he thinks about AI as an artistic medium. We talk about his philosophy around AI art, where he thinks the medium is heading, the process behind his work and what he wants to explore next in his creative practice.
I was already moving between different creative mediums long before AI. I painted and drew a lot, using everything from watercolor to acrylic and oil, and later became more focused on photography. I've never really felt the need to commit to one medium - I've always enjoyed trying things and finding different ways to express an idea.
I'm currently studying Communication Design, which has given me the chance to explore a wide range of creative disciplines. It was also during my studies that I first encountered generative AI. Out of everything I had tried, it was the medium that really stayed with me. I started sharing the work online, people responded to it, and things grew from there.
Honestly, the phrase started because I thought it sounded cool. But it also ended up describing the process quite well.
I like to imagine that an image or a moment exists somewhere inside the model as one of countless possibilities. You don't know exactly what it looks like yet, so you search for it through prompts, references and experimentation. Sometimes you find something close to what you imagined, and sometimes the process takes you somewhere completely unexpected. Those are the visions I bring back from that space.
I've mostly stopped having that conversation. If someone is genuinely interested, I'm always open to discussing it. But if I can tell that someone has already made up their mind, I usually just ignore it. It doesn't really bother me on a personal level.
What I do find interesting is how much the general attitude toward AI has changed. Around five years ago, the images were strange, flawed and unlike anything people had seen before, so there was a lot of curiosity. As the technology became more capable, that curiosity gradually turned into fear and resistance. Some of the criticism is completely valid, but in certain creative circles, disliking AI now almost feels like something that is socially expected.
A lot of the strongest opinions also come from people who don't really know how an AI-assisted image or film is made. They often imagine one prompt and a finished artwork, without seeing the references, custom models, art direction, cinematography, editing and constant experimentation involved. If you reject the tools before engaging with them, it becomes difficult to understand how much creative control an artist can actually have.
I don't really see AI art as something that will develop separately from the rest of art. It will become part of it and evolve alongside everything else.
AI is incredibly accessible, which gives many more people the chance to express themselves visually. At the same time, that accessibility creates a huge amount of imagery, and certain styles can become familiar or exhausted very quickly. Art history has always moved through cycles like that: once something becomes dominant or widely reproduced, artists begin looking for ways to break away from it.
I think AI will make that cycle move even faster. The more mass-produced imagery we see, the stronger the desire for work that feels individual and personal will become. Artists might do that by pushing AI in more individual directions, combining it with other mediums or rejecting it entirely. Both responses are interesting.
I first discovered on-chain art through Twitter. I saw that many of the artists whose work I followed and respected were releasing their art on-chain, and it quickly made me want to explore that world myself.
Of course, it offers artists another way to earn money, but what interested me just as much was the way the work could be presented. On social media, you are always posting into a fast-moving, algorithm-driven timeline. On-chain platforms give you a more intentional space where you can organize works into collections, connect them through a concept and present them together.
I also like the sense of permanence. A social media post can disappear into the timeline almost immediately, while an on-chain work remains visible, traceable and connected to its collector. It gives digital art a place where it can exist beyond the endless stream of content.
goo.vision, Archē Nomou I, 2025. From Algorithmic Sculpting, his first work listed for sale.
"Algorithmic Sculpting merges classical sculpture with technology. Inspired by antique art, this AI-driven series blends organic forms with digital elements, reimagining timeless aesthetics while questioning technology's role in artistic evolution."
Isolation and procrastination are feelings that almost everyone experiences at some point. They feel especially present to me as a young artist who is still studying and trying to find his place. A creative path comes with a lot of uncertainty. You want to feel connected and understand where you belong, but the work itself can also require you to withdraw and spend a lot of time alone.
I didn't want to present isolation as something purely negative or positive. I wanted to leave that open. The dreamlike visual language helped because dreams can be disconnected, illogical and difficult to judge in such simple terms.
The loops relate more directly to procrastination, creative block and overthinking. There is always movement - the water flows, the clouds shift and the rooms begin to dissolve - but nothing truly moves forward. Everything remains within the same walls and eventually repeats. Whether those spaces are restrictive or comforting, and whether there is any way out of them, is left for the viewer to decide.
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goo.vision, Waterwall, 2026. From Elsewhere.
"A surface pretending to be a boundary."
I create quite freely and impulsively. I constantly have new ideas, styles or concepts that I want to try, and I usually want to share them pretty quickly. I see my social media almost as a public sketchbook where I can experiment without having to define everything beforehand.
That doesn't mean the work I post there is unfinished or less valuable. It's often through those experiments that I notice an idea has the potential to become something larger. Maybe a visual language keeps pulling me back, or several works begin to form a wider concept that I want to explore.
I rarely sit down with a complete collection already planned. I usually make things, share them and follow whatever continues to interest me. If a group of works eventually feels coherent and expresses something I want to preserve, it may become a collection and go on-chain.
So minting is mostly an instinctive and very selective decision. The work has to stay with me and feel like it deserves a more permanent place outside the timeline.
goo.vision, Exploria – Valley, 2025
Not really, but it always makes me happy. Something I've noticed is that artists who feel confident in their own work and identity often seem more open toward AI as well.
They don't automatically experience it as a threat to their own process. They can look at an image, connect with its atmosphere, composition or underlying idea, and then carry that inspiration into their own medium. So I'm not surprised when a traditional artist finds something inspiring in my work. The tools may be different, but inspiration can still move freely between them.
Definitely. Seeing the work of other AI artists was actually one of the reasons I started sharing my own. A few years ago, there was a big wave of dark fantasy imagery and video on Instagram. I found those worlds fascinating, and trying to understand how people were creating them pushed me to experiment and eventually develop my own work.
That still happens today. I'm especially drawn to work where I can't immediately understand how it was made. It makes me curious about the process and about how I might approach a similar idea in my own way. Usually, that attempt leads somewhere different and becomes the starting point for a completely new idea.
Honestly, I don't know - and I like that. I have so many ideas and possible directions that it's difficult to predict where my work will be in the future. On a more immediate level, I'm currently working on my bachelor's degree, so finishing that is my first priority right now.
Beyond that, I'd like to move away from purely short-form content and explore longer, more developed projects. I also want to begin new photographic series and experiment further with combining photography, painting and illustration with AI. There are many things I want to try, and I usually let the process decide which idea I follow first.
The one thing I do know is that I'll keep creating. Artistic expression has become such a natural part of my everyday life that I'll always find my way toward another idea, even if the direction continues to change.
One of the hardest parts of putting this article together was actually choosing which of goo.vision's work to show. He's made hundreds of pieces, and there's so much variety in the ideas, concepts and styles that narrowing it down to just a handful felt almost impossible.
There's still plenty more for goo.vision to explore, and after speaking with him, we're pretty interested to see where he takes it next.
You can find goo.vision's work on Manifold, Objkt and Transient. Follow him at @goo_vision.
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