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A few years ago I specialised in post-apocalyptic concept art, heavily influenced by the Fallout games and a few legendary movies. Here's a relic from that particular era of mine
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Title: FOLLOWER OF
FOLLOWER OF wakes a painting nobody signed. "Christ's Descent into Hell" (The Met, 26.244) is by an anonymous follower of Hieronymus Bosch, sold as a Bosch in Prague in 1926 and still unattributed. I chose it because I love Bosch, and because a painting by a follower asks the question the whole panel is about: who follows whom.
For a hundred seconds the painting comes to life without ever leaving the surface of the paint. A lantern wakes it. Light breaks the gate of hell. Adam and Eve beg with empty hands, the saved climb the stairs, Saint Christopher slips away from the devil's army with the child on his shoulders, Judas will not let go of the bag, Sisyphus keeps climbing, and the ones who stay behind keep living by the giant head. The ending comes from the Met's own technical notes: the blue corner of the sky was painted over fire. The painter changed his mind.
Every shot starts from a crop of the Met's open access image: no new figures, no new colors, only what the painter left. Each crop was upscaled with Magnific Precision Upscaler, animated with Kling 3.0 Pro, with prompts refined by Claude Opus 5 inside FLORA. The narration is Gemini TTS, the score is ElevenLabs Music: a sixteenth century Franco-Flemish consort reimagined for a painting of hell. The whole pipeline ran from Claude Code on the desktop through FLORA's MCP: the agent built the graph, ran the models and kept the production ledger, and every creative decision stayed with me. Structure, shot list and sound design follow a kishotenketsu: the turn is not a fight, it is a painter changing his mind.
Christ's Descent into Hell, Follower of Hieronymus Bosch (Netherlandish, second quarter of the 16th century). Oil on two oak planks, 53.3 x 116.8 cm. The Met, Harris Brisbane Dick Fund, 1926 (26.244), on view in Gallery 613. A panoramic hell where Christ breaks the gate to free the just: Adam and Eve, Noah, Abraham, David and the patriarchs climb a ruined tower, Sisyphus heaves his stone up the rock on the right, and Judas is dragged back. Paint analysis shows the orange of the burning sky continuing under the blue in the upper left corner: more of the sky was originally on fire. Public Domain, Open Access.
Original artwork (The Met, Open Access): https://www.metmuseum.org/art/collection/search/435725
✨ For this challenge, I reimagined an Arts and Crafts cabinet from The Metropolitan Museum of Art’s Open Access collection by bringing the painted figures on its surface to life.
🎨 What interested me most was the relationship between the painting and the cabinet as a physical object. Instead of simply animating the figures, I wanted their actions to affect the cabinet itself, allowing the painted world and the functional object to briefly interact before returning to its original state.
🌿 I explored and developed the concept in FLORA, creating multiple variations, testing timing, extending scenes, and building the final sequence through an iterative visual process.
🎙️ The project walkthrough voiceover was created with ElevenLabs, and the original music was generated with Suno.
🔗 Links
The Met Artwork: https://www.metmuseum.org/art/collection/search/195456
#FLORAMuseum
👍 😂 It looks funny and very professional implementation
DPLNK is a design practice built around one simple idea: brands become stronger when everything connects.
Strategy connects with identity.
Identity connects with expression.
Expression connects with people.
The name reflects that principle — a visual system reduced to its essential link between idea and perception.
No unnecessary layers. No decoration for the sake of it. Just purposeful design, built to make brands feel clear, distinctive, and connected.
This is the kind of work I want to create more of.
If you’re building a brand that deserves that level of intention, let’s talk.
Amazing work!