Projects in ChileProjects in ChileBaboonz® — Art Toy & Collectible System.
Baboonz is a contemporary art toy inspired by the ancient Egyptian connection between the baboon and Thoth, the god of wisdom, knowledge, and writing.
The project reinterprets this ancient symbolism through a contemporary collectible design language, positioning Baboonz between character design, contemporary art, fashion, and product design.
The collection includes the sculpture, a premium satin-finish packaging system, and a TCG-inspired collectible card with metallic and holographic details, creating a cohesive physical identity and expanding the character’s lore.
The goal was to make Baboonz feel museum-able — a modern collectible art object that connects ancient artifacts with the way we collect and experience objects today.
Check the project here. (https://app.flora.ai/projects/ns77j6160yncy7mmp0erbh9xm58dm151) (App Flora Canvas)
Check the original art (https://www.metmuseum.org/art/collection/search/545213) | Met Museum (Figure of Baboon)
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 In my role as a designer at Inmedia, I have created a range of video content aimed at both informing internal audiences and showcasing the company’s capabilities and visual standards. These videos cover diverse topics such as health, sports, travel, cooking, workplace safety, responsible mobile use, and productivity, providing valuable and engaging content for employees across different organizations.
The content is distributed through internal corporate channels and updated three times per week, requiring a strong balance between creativity, efficiency, and consistency. Beyond delivering information, these videos also serve as a way to promote Inmedia’s visual quality, attention to detail, and approach to content creation.
I was responsible for the entire creative process—from scripting and conceptualization to the final graphic execution of each piece. This included defining a new visual identity for the content, establishing guidelines for color palette, typography, layout, and overall visual language. I also handled video and image editing, motion graphics, and composition to ensure each video was clear, dynamic, and aligned with the brand’s positioning.
This experience highlights my ability to lead creative projects end-to-end, develop cohesive visual systems, and produce high-frequency content that is both informative and visually impactful. 
