An evolving collection of imagined worlds
An impasto oil painting of Kinkaku-ji on white paper. The gold pavilion stands on its pond between a twisted pine on a rocky island and a red maple, its gold reflection in the water. Thick cream clouds and an orange sun rise behind it.

Palette-knife cities / 2026

Kinkaku-ji, gold on still water

Kyoto's Golden Pavilion laid on with a palette knife. A sweep of gold carries it, the pond holds its whole reflection, and a sun rises out of heaped cream clouds.

Kinkaku-ji, the Golden Pavilion of Kyoto, stands on Kyōko-chi, the Mirror Pond, and the prompt asks for exactly what the place is known for: the whole building twice, once in the air and once in the water.

Everything here is paint pushed around with a knife. The clouds are heaped thick enough to cast shadows. There is the gold leaf of the upper floors, the phoenix on the roof, the pine on its rocky island. The sweep of colour runs up from the lower left, as the prompt says, and most of the paper is left white.

The prompt is a template: from one city to the next, only the name in square brackets changes. It is shown here in English translation.

Codex image generation
The creative direction

[Kyoto · Kinkaku-ji], oil painting style, a 3D miniature landscape in thick palette-knife impasto, with paint of varying thickness giving a real sense of volume. 3:4 portrait, a centred diagonal composition. The main colour comes from the landmark's own signature colours, or from the colours people associate with the city. A sweep of oil paint in matching tones runs from the lower left to the upper right, carrying the finely made landmark and rendering its iconic outline, structure and materials accurately, with a few related elements dotted around it. The paint at the bottom and the water in front echo the building's main colour; the water clearly reflects the whole landmark, keeping natural glints and layers of colour. Behind the building, milky-white clouds are built up from thick oil paint, varied in size and overlapping front to back, with clearly raised thickness, palette-knife texture and soft cast shadows, and an orange-gold sun rises between them. About a 45-degree oblique view from above, soft side light, a minimal layout, large areas of white textured paper left blank, the edges of the paint showing natural scraped and broken strokes. No text, no watermark.