The Artificial Prophet depicts a monumental male bust crowned with immense horn-like antennae that curl forward before folding back upon themselves. Encased in circuitry and wiring, these structures dominate the figure, appearing less ornamental than functional, as though they are transmitting, receiving, or exerting control.

The work imagines one of the artificial constructs that inhabit this speculative post-technological world: an algorithm made flesh. Within a society where advanced technologies have become inaccessible and incomprehensible, such beings occupy a space once reserved for religion and myth. Whether the figure is benevolent or malevolent remains unresolved. He exists instead as an object of reverence, fear, and projection.

The horns draw partly from the antennae of crustaceans, particularly crayfish, ancient evolutionary forms that rely upon sensory appendages as much as sight to navigate and interpret the world around them. Referencing these structures allowed the work to connect speculative technology with biological systems that feel primal and enduring. The antennae suggest communication and perception beyond human understanding, while also raising uncertainty about agency: whether the figure controls these systems, or is himself controlled by them.

Like many of the figures within this broader body of work, The Artificial Prophet resists fixed interpretation. He is

neither fully machine nor fully human, but something suspended between the two, a mythologised remnant of technologies that have outlived the civilisation that created them.