In Autophagia, Rhys Edwards creates oil paintings that hover between observed life and synthetic image. Working from flowers and objects in the studio alongside found photographs and AI fragments, he foregrounds the strange circulatory logic of contemporary image-making. The results are scenes that feel impeccably composed yet unstable, as if built from shifting representations rather than stable ground.

The exhibition title alludes to artificial intelligence trained on its own output, but Edwards’ paintings are less theoretical than optical—they make that recursion visible as color, surface, and arrangement. Drawing on Dutch Golden Age floral painting, his canvases register the subtle estrangement produced when an image is copied from copies. This is thoughtful, materially rich painting showing at Wil Aballe Art Pr…