Tertium Datur
Process
After letting the experience rest for a few weeks, I began the pictorial process in Krita. The goal was not to execute a literal visual replica of the dream, but to decode its symbolic weight and analyze my subconscious relationship with those images. This phase of externalizing a defined dream sequence sparked the desire to expand the process through the use of Gemini and NanoBanana. The initial purpose was to deepen and experiment within the pictorial dimension: testing different iterations and closely studying those aspects of my own painting that had gone unnoticed, seeking to understand how that image fit into my daily reality.
AI Intervention, Overpainting, and Motivation: The Transmutation
Through experimentation with Artificial Intelligence models, the process shifted toward the technology's capacity to act as a "metaphysical accelerator" capable of transmuting concepts. Taking the concerns and exposures that motivated the original painting as a seed, I transferred the concept into a new plastic dimension, assimilating aesthetic influences from references like Chris Cunningham and Salvador Dalí. However, once the base image was generated through NanoBanana, I started overpainting the result in Krita to break the typical artificiality of the AI, giving organic textures, deliberate lighting, and painterly personality back into the piece. This hybrid dialogue finally managed to manifest the "Tertium Datur" (the third thing): a new visual entity where the boundary between code and human gesture dissolves, allowing the work to transition toward a new horizon of visual interest.