Why I Created an AI Street Art Exhibition in Paris

Ctrl+Art+Del is my AI street art exhibition in Paris — and it began with a reflection in a puddle.

A flood had left behind muddy reflections and soaked graffiti — but in one of those puddles, I glimpsed more than a street mural. I saw a question:

What if art could escape the wall and become its own reflection — free, moving, untouchable?

That moment sparked a journey. A few years later, with the emergence of AI as a creative tool, I felt the same pull I did when photography first entered my life — not to imitate reality, but to amplify the stories I wanted to tell.

Ctrl+Art+Del results from that exploration — an artistic reset.
The Centre Paris Anim’ Musidora in the 12th arrondissement of Paris presented it in October 2025.

Each image in this exhibition is available in a limited edition of 25 signed and numbered prints. These are not just images — they’re fragments of a global, poetic, digital soul.

How I Use AI in My Street Art Exhibition in Paris

These aren’t “just AI images.”
Each visual you see in Ctrl+Art+Del began with an idea, a story, a location I’ve walked through or dreamed of. I used AI not to escape artistic labor — but to refine it.

Every artwork combines:

• AI-assisted visual composition, layered with prompts from my memories and photographic practice.
• Photorealistic depth and grain, inspired by analog photography and urban decay.
• Digital street art illusion, mimicking spray textures, sidewalk reflections, wall weathering.

Take “Pluie Intérieure,” for example — the sadness in her closed eyes, the trembling reflection in a puddle, the London grime — all of it orchestrated to feel real, even if it never existed.

I don’t just build images — I build echoes of feeling.

This Is My Voice, Not My Tool’s

I’ve always believed that art isn’t about technique — it’s about presence.

AI, to me, isn’t a shortcut. It’s like a new type of lens. Just as photography helped me see in light and shadow, AI allows me to paint in memory and emotion. It gave me the power to create scenes that once only existed in dreams or metaphors.

In this exhibition, I wanted to take you on a journey:

• Through cities where souls are etched on walls (Paris, Londres, La Havane).
• Through emotions mapped like rain (tristesse, renaissance, envol).
• Through questions of contrast: chaos/order, nature/city, solitude/connection.
• Through shared dreams — from Macondo to Orwell — that shaped our collective imagination.

And finally, I end with an unfinished mural — a blank line. Because I don’t believe in last statements.
I believe in inviting others to continue the story.

Conclusion

Ctrl+Art+Del isn’t just an exhibition — it’s a reset. A CTRL+ALT+DEL for the artistic soul.

With every image, I’ve tried to reimagine what creativity looks like when we stop fearing the tool, and start using it to express what only humans can: emotion, contradiction, fragility, joy.

Each artwork is available in a limited series of 25 signed prints.
If one of them speaks to you, know this: you’re not buying a product —
You’re collecting a piece of my voice.

You can discover the full catalogue of Ctrl+Art+Del on Amazon, including all the artworks and their backstories.

Learn more about my journey and previous projects on the About Me

Want to Collect a Print or Ask a Question?

Reach out via my contact page

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What Is Prompt Art? (And Why It’s Not Cheating)

Prompt Art is the process of using words to paint pictures—with the help of generative AI. It’s not a replacement for traditional art. It’s an expansion.

You describe an idea—say, “a surreal mural where a woman’s hair flows into Gothic arches and stained glass windows”—and watch the image unfold through AI. From there, it’s a dance of iteration: refining lighting, textures, symbols. The tools might vary (MidJourney, DALL·E, Kling.ai), but the goal remains the same: turning vision into visual narrative.

In my book, Street Art Vol. 1: Beyond Frames, I show how I crafted simulations rooted in centuries of art history, music genres, and emotions—each piece transforming a digital wall into a layered story.

How I Build These Murals: My Prompt Art Workflow

The process I use is both structured and intuitive. Here’s a peek:

1. Concept Development: I begin by choosing a theme—like Melancholy, Renaissance, or Jazz.
2. Prompt Creation: I describe the scene in rich, cinematic detail.
3. Tool Selection: Depending on the visual goal, I use:
   • ChatGPT + DALL·E for iterative narrative control
   • Kling.ai for stylized realism
   • Dreamstudio for cinematic or photographic finishes
4. Editing: I fine-tune outputs in Photoshop—especially when AI struggles with hands or details.
5. Exporting: I generate high-res versions in both CMYK (for print) and RGB (for digital display).

“Each simulation is a curated story—designed to echo the raw soul of graffiti with the infinite potential of AI.”

Why I Wrote the Book (and Why You Should Read It)
Street Art Vol. 1: Beyond Frames is a creative manifesto. It exists for three reasons:

1. To Show the Process: I lay out every step of my Prompt Art method.
2. To Express My Voice: Through centuries, music, and emotion, I reveal my creative obsessions.
3. To Educate and Empower: I want others—especially artists unsure of AI—to see its potential as a collaborator, not a threat.

The book includes 50+ full-page artworks, prompt breakdowns, and reflections on how each piece was born.

Get your copy here and explore the untamed space where art and tech collide.

Recap: Graffiti Is Dead. Long Live Graffiti.

AI isn’t here to erase graffiti—it’s here to reimagine it.

Through Prompt Art, we’re not replacing walls with screens—we’re adding new dimensions to storytelling, emotion, and expression. Whether you’re a traditionalist or technophile, the future of art invites us all to pick up the brush—be it physical or digital.

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Introduction

During this summer, I had the opportunity to become, for a couple of hours, a seeker of history’s echoes. Oradour-sur-Glane, a village frozen in time, beckoned me with its silent ruins and haunting stories. I set out to capture its essence through my lens, often using a large depth of field (high aperture). The post-treatment I chose was intended to reflect the desolation and strong feeling of discomfort that pervades this place.

Arrival

Stepping into Oradour-sur-Glane was like entering a time capsule. The ruins, untouched since that fateful day in June 1944, stood as stark reminders of a brutal past. The profound silence, broken only by the whisper of the wind and the distant hum of insects, filled me with reverence and sorrow. As I walked through the streets, I carefully avoided capturing any people in my shots to preserve the ghostly solitude of the village. I often used a foreground to create a sense of intimacy and respect, as if witnessing the past of an unwanted and horrible event.

June 10^th 1944

On June 10, 1944, around 1 PM, approximately 200 Waffen SS soldiers of the 3rd company, led by Captain Kahn, set out for Oradour-sur-Glane. The village was crowded that Saturday, the weather was rainy, and most of the villagers stayed at home. By the time the first vehicles entered the village, it was already methodically surrounded. The residents were herded towards the center of the village and gathered on the Champ de Foire. Orders were given to shoot those who could not make it there.

The Champ de Foire, now an open space surrounded by ruined buildings, was where the men were separated from the women and children, who were then led to the church. The men were taken to predetermined enclosed locations. A signal was given, and they were simultaneously executed. Meanwhile, the soldiers indiscriminately killed others in the streets and homes, pillaging and setting the village on fire. Burning the corpses and destroying the town, some men, still alive under the pile of burning, tried to escape from being burned alive and were shot. A few managed to escape.

What was a pleasant and vivid village that Saturday morning became a field of human drama and desolation. No warnings, no reason that can excuse such barbarism.

In the church, I thought about the distress and fear that must have engulfed the mothers and children who were locked in this very place, no less than 450 souls. The attackers had placed a wooden box with ropes in the middle of the church – a firing bomb. Realizing what was about to happen, some women were overwhelmed with distress and fear, others with denial. The attackers set the church on fire and shot those attempting to escape. The walls, scarred by bullets and fire, seemed to echo the cries of those trapped inside. I stood there, camera in hand, feeling a profound sense of loss and anger.

That ignominious day, as evening fell, part of the troop returned to their camp, while others stayed to guard the devastated village. The following day, a section returned to systematically eliminate the bodies by fire and bury them in a mass grave. This desecration made identification impossible, extending the terror by denying the victims’ families the chance to mourn. In total, 643 victims were counted.

Reflection

As I continued to explore the ruins, I saw the mother and her son in the church. The child was playing, unaware of the grim history of the place. The joy and innocence of that child struck me deeply, contrasting starkly with the cries and tears of the women and children who perished on that ignominious day in 1944. This juxtaposition of past sorrow and present innocence felt surreal, amplifying the tragedy of what happened here.

After the war, Charles de Gaulle declared Oradour-sur-Glane a place of commemoration, a symbol of the horror of war. On March 5, 1945, while unveiling a plaque denouncing Nazi barbarism, de Gaulle stated, “Si nos amis nous aident, tant mieux. Mais il nous appartient, indépendamment de toute sécurité générale, de faire justice et d’empêcher le renouvellement de tels crimes.” [If our friends help us, so much the better. But it is up to us, regardless of any general security, to do justice and prevent the recurrence of such crimes.] This visit left a lasting impression, especially since a few months earlier, he had decided to preserve the martyred village in its state, a decision validated by the Provisional Government of the French Republic on November 28, 1944. Charles de Gaulle aimed to make Oradour-sur-Glane a symbol of the sufferings endured by the French people during the four years of occupation.

Yet, as I stood there, I couldn’t help but wonder how long it takes for such horrors to be forgotten. Despite over 300,000 visitors per year, who come to remember, reflect, or sometimes, disturbingly, to take selfies, the specter of negationism lingers. Only those who lived can speak for the dead.

Robert Hebras, the last survivor of the massacre, once said, “It is clear that future generations will live this horror again.” His words echoed in my mind, a stark reminder that the lessons of history are often perilously close to being forgotten.

President Macron, during his speech in 2017, echoed this sentiment: “Ce jour du 10 juin 1944, c’est tout ce que nous haïssons qui s’est abattu sur le village d’Oradour. La vie humaine fut comptée pour rien, l’innocence fut assassinée, la souffrance des victimes fit le plaisir des bourreaux. La mort devint un jeu, le néant un but. ‘Plus jamais ça’, ont crié des générations de survivants aux guerres atroces du XXème siècle; ‘Plus jamais ça’, ont crié les familles d’Oradour, de Tulle, de Maillé, d’Ussel et de tant d’autres lieux de supplices; ‘Plus jamais ça’ ont clamé les rares rescapés des camps de la mort. Mais nous savons bien que tout recommence et que tout peut recommencer. Et ce sera votre responsabilité à vous jeunes gens de toujours y veiller, parce que jamais vous n’oublierez, parce que nous savons bien en effet qu’à nos portes cela continue.” [On that day of June 10, 1944, everything we hate came crashing down on the village of Oradour. Human life was counted for nothing, innocence was murdered, the suffering of the victims gave pleasure to the executioners. Death became a game, nothingness a goal. ‘Never again’, cried generations of survivors of the atrocious wars of the 20th century; ‘Never again’, cried the families of Oradour, Tulle, Maillé, Ussel and so many other places of torment; ‘Never again’, proclaimed the rare survivors of the death camps. But we all know that everything can start again. And it’s up to you, young people, to keep an eye on this, because you’ll never forget, because we know that on our doorstep it’s still going on.]

The barbarity that devastated Oradour still lurks within humanity. The only true defense against such madness is our collective conscience and vigilance.

Walking through Oradour-sur-Glane, I was reminded of the importance of remembering and honoring the past. This village, preserved in its ruined state, serves as a powerful testament to the atrocities of war and the resilience of human memory. It is a place where history feels painfully real, urging us to reflect on our capacity for both cruelty and compassion.

Conclusion

Leaving Oradour-sur-Glane, I carried with me a heavy heart and a deeper understanding of the weight of history. Through my photographs, I hope to convey the silent sorrow and enduring strength of this place. Oradour-sur-Glane is not just a reminder of the past but a call to remember, to learn, and to strive for a future where such tragedies are never repeated.

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Yet, beyond the storefront’s persuasive charm lies a stark reality: the tanneries themselves. This is where the city’s famed leather is born from labor that teeters on the edge of endurance. The workers, often in relentless conditions, transform raw hides into objects of desire. This is no mere job; it is an ancient craft, yet it bears the heavy marks of toil and the relentless passage of time.

To visit the tanneries is to witness a tableau of survival and tradition. The scent of treated leather hangs heavy, a reminder of the physical toll exacted from both beast and man. It’s an encounter that challenges the visitor, calling into question the very notions of a ‘civilized society’ we so comfortably claim to inhabit.

Is it mere naivety, or perhaps a darker complicity, that draws the lines which separate the tourist spectacle from the laboring reality? One cannot help but ponder the price of this legacy and the lives that sustain its continuance. As the leather dries and the tourists depart, what lingers is the echo of a question: Are we willing to confront the human and ethical cost embedded in our souvenirs?

Thank you for visiting my world, where each photograph is not just a visual capture, but a narrative waiting to be told. Let us look deeper, and together, let’s uncover the stories that lie behind the veneer of tradition.

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Capturing the ephemeral dance of time against the backdrop of an ever-changing sky is a pursuit of patience and creativity. Time-lapse photography allows us to perceive the subtle rhythms of the world in a new light, revealing the fluid motion of life that our eyes can’t see in real-time. From my unique vantage point atop the bustling heart of Paris, I set out to chronicle the celestial ballet of clouds and the gentle fade from day to night.

Armed with my trusted camera, a steady dolly for smooth transitions, and the spirit of experimentation, I embarked on this project to compress hours into seconds—each time-lapse crafted from around 500 individual shots taken at 20-second intervals. This meticulous process is not just technical but deeply artistic, inviting viewers to reflect on the passage of time and the serenity it can bring.

The result is a series of time-lapse sequences that offer a glimpse into the soul of Paris as the sun dips below the horizon or as a tapestry of clouds weaves through the sky. It’s a panoramic sweep over the city’s rooftops, a visual sonnet to the day’s end, and a testament to the city’s enduring charm.

I invite you to watch this convergence of time, technology, and art unfold in the video below, hosted on the Studio84 channel. May it inspire you to pause, breathe, and appreciate the fleeting moments that define the beauty of our existence.

I hope this visual journey through Parisian skies enriches your day as much as capturing these moments has enriched mine. If it moves you, share your thoughts in the comments, or reach out for a dialogue on the wonders of time-lapse photography.

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Venturing into the heart of Paris, my latest discovery in our street exploration series is a breathtaking graffiti wall, stretching over 200 meters along Quai de l’Allier. This isn’t just any street art; it’s a poignant reflection of societal contrasts and a blend of diverse cultural expressions.

The wall, a vibrant tapestry of colors and forms, captures the essence of a society at the crossroads. Here, the raw energy of street art meets the stark reality of social disparity. The backdrop is uniquely Parisian – an area where immigrants have found refuge, setting up their colorful Quechua tents, creating a vivid juxtaposition against the urban canvas.

Technical Details

To share this masterpiece with you, I embarked on an ambitious project – creating a massive digital collage to encompass the wall’s entire expanse. Armed with my trusty DSLR, an EF16-35mm lens set at 26mm, and the perfect lighting conditions (ISO 100, 1/800sec at f4.0), I captured the graffiti in its purest form. The midday sun offered clear, shadowless shots, emphasizing every detail of this urban phenomenon.

While I faced challenges in compiling these images into a single frame – resulting in a colossal 1.5GB file – the end product is a testament to the wall’s grandeur and the stories it tells. Each segment of the graffiti is a narrative in itself, reflecting the diverse cultural and social tapestry of Paris.

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Just steps away from my home in Paris lies a hidden gem, Les Pavillons de Bercy – Musée des Arts Forains, one of the most unique museums in Paris. This isn’t just any museum; it’s a captivating tribute to the spectacle and joy of historical fairgrounds.

Les Pavillons de Bercy offers an enchanting experience with four distinct themed areas, each meticulously designed to evoke different eras of spectacle and festivity. The museum’s setting is not just an exhibit space but a theatrical masterpiece, where every corner tells a story, enriched by my feelings of awe and nostalgia.

The heart of this museum lies in its extraordinary collection of authentic objects, meticulously preserved from the 19th and 20th centuries. These artifacts aren’t mere exhibits; they’re storytellers, relics of a bygone era that still resonate with the spirit of celebration and artistry.

Wandering through the museum, you’ll find yourself amidst a scenography that blends the whimsical charm of vintage fairgrounds with the sophistication of modern artistry. It’s a place where history breathes through colorful carousels, ancient games, and statues that have witnessed centuries of laughter and wonder.

Technical information

My trusty DSLR was set to a wide aperture, harnessing the low light to paint each shot with the hues of yesteryear. With no flash to startle the ambiance, I held my breath, steadied my stance, and let the shutter cradle the silent laughter and whispers of the fairground spirits. It was a dance of patience and precision, ensuring each frame was free from the speckle of noise, every image a testimony to the museum’s radiant soul.

Takeaway

I urge you to explore Les Pavillons de Bercy – Musée des Arts Forains, whether you’re a history enthusiast, an art lover, or simply seeking an escape into a world of whimsy and nostalgia. This museum promises an unforgettable journey through time and imagination, and I invite you to discover its wonders for yourself.

Les pavillons de Bercy site

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In the serene expanse of Bercy Park, Paris, stands a poignant assembly of statues known as ‘Children of the World,’ crafted by the distinguished French sculptor, Rachid Khimoune. Each of the 21 statues, fashioned from the very essence of city streets, bears a unique name that echoes the soul and spirit of the country it represents:

• Ayako la Japonaise – Japan
• Dick l’Anglais – England
• Kahina la Kabyle – Kabylia
• Akavak le Canadien – Canada
• Mu Nan la Chinoise – China
• Jean le petit Suisse – Switzerland
• Eve l’Allemande – Germany
• Mahatma l’Indien – India
• Jean-Baptiste le Monégasque – Monaco
• Naomi l’Africaine – Africa
• Mohamed le Marocain – Morocco
• Jim le New Yorkais – New York
• Jeanne la poupée Russe – Russia
• Enzo L’italien – Italy
• Felipe le Mexicain – Mexico
• Ali le Tunisien – Tunisia
• Rania l’Arabe – Arab countries
• Antonio le Brésilien – Brazil
• Isis l’Egyptienne – Egypt
• Marie-Carmen l’Espagnole – Spain
• Le Titi Parisien – Paris

The inspiration for this photoshoot sprung from a fascination with the artistry and symbolism behind each statue. They are not mere sculptures but embodiments of childhood across the globe. The vivid colors and sewer mold construction speak volumes about the cultural mood each child represents. This photographic endeavor was my homage to the silent stories these figures tell, an attempt to immortalize their narrative through my lens. It was a journey of capturing not just images, but souls — each frame a testament to the world’s vibrant diversity.

Technical information

As I embarked on the photographic journey to capture Rachid Khimoune’s ‘Children of the World’ statues, I was met with a technical challenge that would ultimately enhance the visual narrative of the collage. Each shot required meticulous attention to detail to maintain consistency across the series.

Camera Settings:

• Exposure Time: To capture the statues with clarity, I used a 1/125 second exposure at f/5.6, allowing me to freeze the moment without losing detail to motion blur or depth of field.
• Focal Length: A 50mm lens on my Canon EOS 5D Mark III was my choice for its natural perspective, closely resembling the field of view of the human eye.
• ISO Speed: Set at ISO 200, I balanced the need for sharpness with the available light, ensuring minimal noise and maximum detail.
• Flash: I opted not to use a flash to preserve the statues’ ambient lighting, highlighting their textures and contours as they are seen in their natural environment.
• Exposure Program: The decision to shoot in manual mode gave me complete control over the exposure settings, necessary for the consistent look of the images.
• Metering Mode: A pattern metering mode helped me to measure the light across the entire frame for a balanced exposure.

Lens:

• Canon EF50mm f/1.4 USM: This lens provided me with the versatility to achieve sharp images with a pleasing background, even in the soft light of Bercy Park.

After the on-site photography session, the real magic happened during post-production. The raw images were carefully edited using Photoshop to ensure consistent exposure across all shots. This meticulous process was crucial in creating a harmonious 3×7 collage that truly represented the unity of Rachid Khimoune’s ‘Children of the World.’ Each photograph in the collage was adjusted to match in light and tone, making the final piece a cohesive and balanced tableau that stands as a testament to both the diversity and the unity of the children it represents.

For more about Rachid Khimoune and his work, visit rachidkhimoune.com.

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