Mr. Relative has been making AI work about people since late 2021, and the whole practice hangs on one line he puts in his Instagram bio and in nearly every artist statement: "Perception is the mother of all beliefs." The body of work is called "This is Humanity." Crowds turn into whirlpools, bodies merge into landscapes and objects, and the subject is always the strange things people do together.
He is worth studying because he runs both ends of the job. On Instagram he posts short pieces from the series almost daily, often several in one day. Off the screen, he spent 2026 building rooms for the same work: a gallery he founded in western Poland, then a booth at the Saatchi Gallery in London.
Here is why he says he uses AI at all, from his CLUSTER London exhibitor profile:
"I work with AI because it is the perfect medium for exploring humanity itself—a technology built on everything we have created, shaped by our knowledge, biases, and perceptions. It allows me to blend reality and imagination..."
A system trained on everything people have made, pointed back at people. That idea hasn't moved in five years. "Each piece is more than an animation," he says on the same page, "it is a fusion of countless perspectives, a collective memory distilled into a single form."
The daily feed
Most of "This is Humanity" lives as short loops on Instagram, and the titles are often handed to the audience. In the first two weeks of October 2026 alone he posted more than one piece captioned "Give it a title," next to ones he did name, like "STATE OF SOCIAL MEDIA" and "You died." The same pieces get cut vertical for his YouTube channel, where "Doom running" and "Everyone is Doomscrolling" sit in the Shorts tab.
The longer films go to YouTube in full. "The smell beneath the bloom" is a 4K film about waste dressed up as something pretty, and its description names the model it was made with, Wan 2.5, and adds one detail most makers wouldn't think to mention: "All the environment sounds made by the model itself."
The films, and the tools behind them
Alongside the loops, he makes longer films with the artist high.taid, and for those he lists the whole stack. "THE LAST SUPPER," a rap music video from December 2025, came together in four days, according to its YouTube description. He made the music in Suno and the stills in Nano Banana Pro. For animation he moved between Veo 3.1, Kling 2.6 with Avatar Pro 2.0, and Dreamina depending on the scene, then edited in CapCut and upscaled in Topaz.
"RECLAMATION," a five-minute sci-fi action short from February 2026, was made with Seedance 2.0, and the credits list Mr. Relative himself as the face of Eron, one of its two leads. On October 12 he posted "The Icebreakers", a history film about Jack Perry and the British pioneers who opened new paths for trade between Britain and China in the 1950s. For that one they worked from "archival photographs, historical footage, and AI-generated reconstructions," with Dreamina credited as the tool.
Tools Mr. Relative credits himself
Stills: Nano Banana Pro · Video: Kling, Veo 3.1, Seedance 2.0, Wan 2.5, Dreamina · Music: Suno · Finish: Topaz, CapCut
From his own YouTube descriptions and Instagram captions. The daily "This is Humanity" loops don't come with a breakdown.
From the feed to a room
In June he took the work off the screen. The Relative Gallery, which he founded, opened its first exhibition, "This is Humanity," on June 27–28, 2026, in a restored barn at a countryside hotel in western Poland. According to the gallery's opening-night post, the show brought seven digital artists together across 11 Samsung Frame screens, four projectors and eight prints. The curator was the artist Odesso, and the lineup included Niceaunties, whose Auntieverse we've profiled.
On the walls were his own pieces, like "Spectacle," a whirlpool made of a crowd with the front row filming it on their phones.
London: the Saatchi Gallery
Three months later he was in London. From September 24 to 27, 2026, he showed work from "This is Humanity" in DIGITALISM, the digital section of the British Art Fair at the Saatchi Gallery, curated by Rebekah Tolley. In the statement he posted before the fair, he described his practice as sitting "between art, technology and human psychology, using AI not simply as a production tool, but as a way of questioning how we perceive ourselves, one another and the world around us."
The same statement is the clearest description he has given of how the pieces are built: "The works combine AI-generated imagery, digital composition, animation and traditional visual references, often borrowing the language of historical painting, cinema and contemporary internet culture."
For the fair he also made a lenticular animation, a printed piece that moves as you walk past it, set in a custom 3D chrome frame. He made it with robot.objects and houseofwow.ai. The Relative Gallery came too, presenting five more artists in the same section.
The work in print
Prompt Magazine ran a feature on him that pulls more of the series into view: "Mind Reaper," a human brain rooting into the ground, and a globe built entirely out of bodies. Before 2026 his pieces had already been shown at CLUSTER's AI Showcase in London in 2025, a photography and print fair, and his gallery's artist bio also lists Sala Equis in Madrid and Screeners BLN in Berlin.
Back on the feed, the London posts have given way to new loops again. One of the newest, from October 12, is captioned with the line the whole series started from: "Perception is the mother of all beliefs."