Ancient Future Myth is the name I gave a phase of my practice centered on techno-mythic worldbuilding: constructing speculative worlds that feel ancient and futuristic at once, inhabited by synthetic organisms, hybrid bodies, ritual and cosmological imagery, and beings that seem to come from before and after the human. I see the structural homologies between mythical and technological structures.

Metamorphosis is the central axis of this era. Transformation operates both morphologically — form as a temporary material condition, a body that records what has shaped it — and behaviorally, where movement is the externalization of identity: a being reveals itself not only through what it looks like, but through how it moves, hesitates, adapts, fragments, or reforms. I think of these works as worlds rather than isolated images: the world is not a backdrop but a participant, and a creature does not simply occupy a world — the world participates in producing the creature. Works including Water Always Goes Where It Wants to Go, Batopia, Noma Tongues, Mixanthropy, and Tidal Spine developed this vocabulary, gradually moving from imagined morphology toward bodies given causal structure — mythic worlds whose strangeness is not only represented, but begins to emerge from how their bodies, environments, and agents are structurally allowed to behave.