In Blue and White Porcelain, Chenlu Jiang threads the guzheng through the wreckage of contemporary feeling, letting delicate notes rise from beneath the rubble. This isn’t nostalgia—it’s survival dressed in silk, trembling yet unbroken. The piece exposes the quiet violence of beauty in a chaotic world, revealing how tenderness becomes insurgent when everything else cracks. Step into the tension and let the resonance carry you deeper into the MORE CARNAGE landscape.

I used to assume disturbing artists were simply unhinged. Then MORE CARNAGE happened, and that assumption didn’t survive the first conversation. What unfolded during this project wasn’t chaos for shock’s sake, but something far more unexpected—and far more human. MORE CARNAGE became a challenge to every belief I thought I had about “extreme” art, and about the people who make it. This collection didn’t just expand the project; it cracked something open. The full story is… complicated. And worth reading.

In Bird Watching in Gaza, Adam Strange delivers an image that doesn’t document conflict—it detonates inside you. A clenched fist bleeds into bombs, hatchlings scream for survival, and the world around them splinters into dust. This piece sits at the heart of MORE CARNAGE’s ethos: art that refuses politeness, refuses distance, refuses to let tragedy dissolve into abstraction. It is a reckoning disguised as a picture, challenging us to confront what we witness—and what we choose not to.

In Arteryficial Intelligence, Mike Petrakis cracks open the glossy myth of technology and exposes its beating, human core. These works bleed, pulse, and question the fragile boundary between machine precision and emotional chaos. In this MORE CARNAGE feature, we explore how Petrakis transforms AI into something disturbingly alive—an entity shaped by our fears as much as our ambitions. Step inside a world where circuitry becomes flesh, and the future stares back with unsettling intimacy.

In EMPIRE SONG, Tajinder Dhami turns silence into resistance. The work does not explain — it hums, it vibrates, it remembers. Through restraint and transcendental rhythm, Dhami captures the lingering echoes of empire and the emotional residue of history. Within the MORE CARNAGE ethos, this piece becomes an act of quiet defiance — a spiritual song that refuses to end, even after the screen fades to black.

In Rebirth, Jacob Yan transforms collapse into creation. A girl falls into snow — not to rest, but to rupture. Glitch and bloom collide in a digital vision of surrender and renewal, where chaos becomes a sacred act of becoming. Within MORE CARNAGE, this work stands as both confession and rebellion — a moment of raw metamorphosis where perfection dissolves, and something truer takes its place.

On Danny’s Farm, playtime curdles. Eva Sykes turns nostalgia into a fever dream, sculpting grotesque creatures that dance between childhood joy and capitalist decay. It’s the uncanny made playful, the familiar made monstrous—a rebellion against perfection and moral comfort. Within MORE CARNAGE, her work stands as a mirror to our era’s absurdities: bright, broken, and unashamedly alive.

In The End of Work, Claudia Tong turns code into choreography—where AI becomes a co-creator, not a rival. The artwork pulses with both precision and collapse, transforming the end of labour into a meditation on surrender and rebirth. Within MORE CARNAGE, it stands as a digital elegy—where the machine learns tenderness, and the artist learns to let go.

In A Bed Time Story for the End, Zheyan Liyanzhen Huang crafts a world where dreams have vanished and the universe begins to forget itself. Through AI-generated imagery and poetic fragmentation, the film becomes a meditation on decay, memory, and collective consciousness on the brink of collapse. This work embodies the MORE CARNAGE ethos through quiet rupture rather than spectacle, inviting viewers into the soft, sorrowful spaces where reality loosens. Step into the unraveling and witness what remains.

In Discordia Digitalis, Arvie Maniquiz turns malfunction into revelation. Each digital fragment—distorted, symmetrical, unrecognizable—vibrates with chaotic grace. This is not art that seeks control; it thrives in rupture. Within the MORE CARNAGE collection, Maniquiz’s work becomes a manifesto for digital rebellion—a reminder that imperfection is proof of life, and that even in the age of algorithmic restraint, the human instinct to break, distort, and feel still burns bright.

In The Fiend XV, James Mellor turns oil and shadow into revelation. The figure—half specter, half mirror—emerges from chaos, confronting the viewer with the uneasy truth of being human. It is a work of survival, not spectacle; a quiet rebellion against polish and perfection. Within the MORE CARNAGE collection, Mellor’s piece stands as an unflinching testament to endurance—to the beauty found in collapse, and the courage to keep creating through the dark.