トリガー警告
Trigger Warning
Latex Space-Coyote engages with AI for design. This is a controversial space, and Latex personally supports the art community as a whole and specifically in the furry community. For the reason of support of artists, these images are held privately and not distributed in mediums outside of Facebook, Reddit, and this website.
These designs do have very limited large format prints in homes, and are now extremely rare as AI platform changes have made it nearly impossible to produce designs influenced by theoretical constructs seen below. That makes these pieces one of a kind and unable to be reproduced in similarity or likeness. Some examples of each series are below with explanations of each of the themes. Private viewings of the full collection are available by appointment only.
2025 Designs Are Closed; See you in 2026!
Commissions
Commissioned and gifted prints are located in private homes as non-published private Latex Space-Coyote works. If interested commissioning a print, contact Latex (prints are 16×20 and larger, yet most are 30 inches plus). Commissioned prints come with a certificate of authenticity, signature on archival matte papers, and confidential registration for future verification. These pieces are only provided with a non-disclosure agreement that only allows for in-person viewing. Any commissions earned are “forwarded” to be spent in the furry art community at large.
Flaw Retention
Latex preserves AI flaws in designs, and this is for a reason. Just like the Japanese culture, Latex preserves the tradition that “only the Kami produces perfection”. The reality that AI design demonstrates flaws, where Latex prefers images with nearly imperceptible or a single flaws, reflects this principle for humanity as well. The flaws are what make the these designs like art, instead of human made art, nor reality’s art. These flaws are preserved, or if edited, at least one flaw is preserved. Some of the designs generated herein demonstrate imperceptible flaws, and that is due to [REDACTED].
無限重合氣大神のゴム妖怪狛犬守護菩薩神御姿 (2025)
An expression of the entirety of this being [process].
ゴム妖怪の道; Gomu Yōkai no Michi (2025)
This was in parallel with critical translations of Ueshiba Morihei’s (1977/2025) 合気道奥義 (Aikidō Secrets).
When Beings Live 10,000 Years (2023–2024)
This series represents a fusion of all aspects of Latex Space-Coyote‘s life, namely the bridging of all aspects of social spheres across east-west, norm-queer, pleasure-enlightenment, art-perversion, and much more. These images are crisp, detailed, and are unreproducible in newer modern AI platforms. This is the first official series produced after early experimentation and is the result of MDL/VDL application to arrive at ”Active Critical Vector Session Management” (ACVSM).1
Latex Space-Coyote (2025 Post Dall-E)
Ahh, shucks, this is a self-styled character and friends. Nuff’ said. Note that this was after a completely new AI image generator was deployed on OpenAI ChatGPT. The generator lost the fidelity, quality, and creativity of the Dall-E platform but retained a powerful ability to retain continuity, similarity, and ability to generate images of such similarity, a character had been born. Themes of other series are retained, except in this, the entire body of the space coyote is what was once, the sphere. Viewers will note the remarkable loss of fidelity and compositing post Dall-E in this series.
Chronolupine Critical TF (2025)
These images were made to support chronolupine documentation here on this site. These have transparent backgrounds for compositing. Only a few will be posted here, to include the protogen armor.
When It Meets Thanka (2024)
This series honors Tibetan Karma Kagyu tradition and influence from Tibetan artists and masters. The black hole motif represents the theft of gravity by the coyote, transforming his body into rubbery space-time itself.
Blaze & Volt (2024)
Blaze & Volt was an experiment based in propaganda art of the 1930‘s–1950‘s. The prints are powerful, colorful, and hit your brain hard. Blaze represents organic chemical interactions whereas Volt represents the electrical interactions. “Transform & Conquer” represent the propaganda of the day.
Street Animals (2024)
Street animals is dedicated to the frustration and dilemma that is the meeting of the Halting Problem & Trolly Problem in governance and community. The anthropomorphic animals here, clad in rubber, again, are masters of language and communication, of gravity itself, yet are powerless due to the meeting of the Halting–Trolly problem as the summary of the unsolvable reality of samsara, and of the world.
Portals (2024)
Portals are an enigma to Latex Space-Coyote and represent loss and gain. When moving from one space to another, something is lost, and something is gained. The movement and mastery of portals across spacetime is a recurring theme as Latex sees the entire nervous system of bodies as warp engines modifying spacetime more rapidly than even light may travel. The effects down range of one’s changing environmental configuration is profound, and the power of this is evident in Portals.
Gravity’s Wrath (2024)
In these images, the wrath of the command of gravity (i.e., language, communication, information) has been bent toward hedonism and pleasure, as well as power. The latex rubber bound creatures in this are in community, and represent the power and strength of transhumanism, transformation, and protection of life and all things sacred. They are not demons, but protectors.
Team Get The Fuck Out of Dodge (2024)
Community is a big part of Latex‘s life, though autistic and difficult to communicate. These images both honor and respect community, and represent friendship amidst adversity.
Relax and Breathe (2024)
These were done not too long after acquiring a “blob” as Latex‘s furry community calls them. Lounging, reclining, or snuggling, these large new versions of bean bags offer a respite after ”Braking Free”. The blob represents an invitation to community, to friendship, and yes, even love.
Braking Free (2024)
In this series, the anthropomorphic latex creatures are breaking free of a shell—coming out. The liquid rubbery sphere represents gravity, and the mastery of it, as well as the womb of the latex creatures. This sphere also represents again, language and communication, the raw aspects of computer science Latex is steeped in. Their forms come alive, through the proverbial shadow, and rain wisdom upon the world. Though their life seems perverse, their mastery of themselves and spacetime is raw, alive, and the stuff dreams are made of.
The Absurd (2024)
Occasionally, within each series, I produce an absurd off image that I get lucky with. These absurdities are collected, much like the below. These are quite frankly, amazing.
Strange Attraction (2024)
A series of attractive “pin up boys” for furry friends, personal use, and the furry community.
Chrono-Lupines (2024)
This is a furry species I sort of stumbled into that I am well aligned to, I created it, and wrote about the species on this site. Learn more about the chrono-lupines here. These are biologically enabled time traveling critters that are powerful beings inheriting technology from Protogens.
Juicer Injection (2024)
This series of quite bizarre images goes back to a time in the military when exposed to Rifts, the game, which featured a character class called Juicers. These are juicer furries, and of course with the rubber/latex theme. These came out quite amazing…
The Conversion (2024)
This series, continuing, like others, builds on the coyote‘s theft of gravity (after stealing fire). Here, the anthropomorphic animals master gravity, and have mastered language (i.e., the goo) to harness and transform its forms dynamically to statically. These are some of the most dynamic, movement filled, and expressive images of the series. These are also used for training sets for other images.
Cherry Blossoms & Goo (2024)
These were done in honor of Cherry Blossom festival (i.e., sakura matsuri), and are a continuation of the goo and anthropomorphic (i.e., furry) themes. The contrast of cherry blossoms, goo, and affection were stunning and beautiful.
Lions Lions Oh My (2024)
The lion represents the “Lion‘s Roar“, not of Christianity, but of Buddhist suttas as well as a friend in the furry community who has a lion fursona. I had done these as a bend away from the canine into other forms, and brought in the powerful motif of storms, lightning, billowing clouds, and thunder.
The Goo of Life (2024)
These reflect the perverse nature of the black rubbery latex goo that had become representative of the ink of language and word that dripped, pooled, and flowed through me over an entire lifetime. Wrapped in words and language, I had become myself the inky black goo. Here, furries, and anthropomorphic animals are immersed, merge, and emerge from the goo… of life.
Runners & Rainbows (2024)
These images were generated based on postage stamps and secret sauce. The runners blazed in rainbow mohawks, straight long beams of light, and that emblazoned sun that continues a Japanese theme which tipped a hat to my Japanese cultural exposure through Mitsugi Saotome Sensei. The running represents autotelic flow, wherein an individual continues in flow-state nearly non-stop. That flow, personally had been accessed to survive continued traumatic experiences, as well as pleasurable ones, across a vivid landscape of public and private spheres.
TimeWalkers (2024)
This series is the basis of a theme of transforming spacetime through afferent-efferent neurobiological warp engines. Latex is of the firm opinion that the neurological system itself already figured out how to warp space-time. These images represent that belief, in that the anthropomorphic beings may cast themselves across space and time with great ability and precision. These are masters of space and time, yet at this time in the series, the most intimate “rubber/latex sphere” had not yet developed, though is present in spiral geometries reflecting the golden ratio. One of Latex’s favorite images in in this series, and is featured below—which one do you think it is?
Dreams and Shadows (2024)
These images are inspired by visits to the National Gallery of Art in Washington, D.C. over many years living in the dojo. These galleries had been a home away from the dojo, and I spent many days a week in the afternoons in them throughout many seasons. My favorite galleries were the Dutch, as clearly evidenced in the images below. Some special secret sauce had been brought into the images, and most of these images at this point referenced sociological and psychological literatures. These images also were influenced by large literature reviews, believe it or not! Some of these images are surreal, and powerful, while some are soft, some soft, and some utterly charming (e.g., the interaction of teacher to student in the one painting with light).
Notes
1 Active Critical Vector Session Management (ACVSM) is whereby sequences of prompt/response are built while a meta-cognitive process detects and measures ”model drift” during regeneration phase. This model drift is monitored for a ”critical moment” in vector change. The the critical moment is detected revealing a vector change (signaled by a large element change in the generated image/text), the session is advanced without further regeneration which preserves what is called ”vector fracture“.
Vector fracture is superpositionally located between larger distances of established information in vector space. The prompt designer/engineer subsequently continues this process traveling down routes of distances further from established information, which is dubbed ”riding the fracture”. Riding this fracture allows the prompt engineer to arrive at [REDACTED]. If the prompt engineer outruns the fracture‘s signal by missing more and more subtle critical moments with each prompt, the fracture is lost and there will be an arrival at [STATIC]. In the event critical moments are missed, vector fracture must be rediscovered. To an expert prompt engineer, model drift may be perceived to exhibit over- and under- drift which can help train and provide rapid feedback on where the fracture is located.