Duncan Rawlinson - Duncan.co

Hands Holding Light

Duncan Rawlinson created this image using artificial intelligence and digital art techniques. Two open palms rise into view, fingers cupped to hold a glowing stream of light that shifts from coral pink at the edges to bright white at the center. Small points of color—orange, teal, and rose—drift upward like sparks or distant stars against a gradient field of deep blue and violet. The figure’s torso appears as a smooth dark form, anchoring the composition while the hands and their glowing contents draw the eye. The piece explores themes of offering, creation, and the human relationship to light and energy. Soft tonal transitions and a limited color range of blue, pink, and white give the work a calm, meditative quality. The AI-assisted process allows for smooth blending of form and color, producing an image that feels both figurative and abstract.

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Red Flower on Water

Duncan Rawlinson created this image using artificial intelligence combined with contemporary digital techniques. A red flower rests at the surface of dark water, its lower petals making contact with the liquid and releasing small air bubbles. Light passes through the petals from behind, producing warm highlights against the black background. Reflections in the water fracture and repeat the flower’s outline, while faint ripples indicate recent movement. The composition isolates the flower in shadow, focusing attention on the relationship between light, water, and the organic structure.

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Cheetah in Flat Color Blocks

Duncan Rawlinson created this AI-generated artwork that merges contemporary digital art with modernist design principles. A cheetah rendered in simplified shapes strides through a field of bold color blocks—red, navy, green, and yellow panels intersect behind the animal’s spotted form. The piece uses flat vector-style illustration with clean contours and minimal detail. Black spots pattern the cheetah’s tawny coat and white underbelly, while the background’s hard-edged geometry creates spatial tension. The composition balances the organic curve of the feline against the rigid structure of the color fields, resulting in a graphic work that recalls mid-century illustration traditions while employing modern AI-assisted techniques.

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Spotted Coat Against Ochre Planes

Duncan Rawlinson created this image using artificial intelligence, blending digital art techniques with a contemporary illustrative approach. A cheetah stands in profile against a backdrop of warm, overlapping color fields—ochre, rust, cream, and navy blue. The animal’s spotted coat is rendered in simplified black dots on tawny fur, with a white chest and underbelly. Clean outlines and flat shapes define the figure, while stylized foliage elements frame the lower left corner. The composition balances the cheetah’s upright stance with the angular geometry of the background planes. The colors draw from mid-century modern design, offering a playful yet refined take on wildlife subject matter. This AI-assisted piece emphasizes clarity and form, reducing the complexity of the natural world into bold, accessible shapes.

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Ceramic Petals and Circuit Threads

Duncan Rawlinson created this piece using artificial intelligence to explore the collision of natural and technological forms. White and pastel petal-like shapes appear to float and fracture across a black field, anchored by thin brass-colored filaments and small spherical nodes that suggest circuitry or magnetic fields. The surface treatment evokes both porcelain and digital rendering, with hints of lavender, lime, and soft orange bleeding through the forms. The composition balances calm with implied motion, as if capturing the instant of disintegration or assembly. Fine linear elements radiate outward, connecting the larger masses to smaller orbiting spheres. This digital artwork merges abstraction with a futuristic sensibility, offering a study in contrasts between fragility and structure.

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Hexagonal Energy Core at Dusk

Duncan Rawlinson created this image using artificial intelligence and contemporary digital art techniques. A massive ovoid structure composed of interlocking hexagonal panels hovers against a gradient sky that shifts from blue-gray to warm orange. Light radiates from the center of the form, illuminating each panel with graduated intensity from bright gold at the core to deep shadow at the edges. The translucent panels create a repeating pattern across the surface, suggesting advanced infrastructure or speculative architecture. The piece explores themes of scale, energy, and futuristic design through its blend of hard-edged geometry and atmospheric color. The structure appears both solid and permeable, caught between materiality and light.

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Ice-Locked Marker, 1000 Islands

Duncan Rawlinson photographed this aerial view of a red-and-white navigation marker standing alone on the frozen surface of the 1000 Islands, Ontario, Canada. The high-key winter scene reduces the frame to white ice, dark open water, and the small vertical structure that guides boats in warmer months. A single crack runs through the foreground ice, adding a diagonal line to the otherwise flat, minimalist composition. The muted tones and spare geometry emphasize the cold and the isolation of the frozen river. This photograph was made with a drone, capturing the marker from directly above as it waits out the winter locked in ice.

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Deer Herd Crossing Frozen River

Duncan Rawlinson photographed this herd of white-tailed deer moving across the frozen St. Lawrence River in Ontario’s Thousand Islands region. The animals travel in loose formation over snow and ice, their warm coats standing out against the white surface. Behind them, a wooded shoreline dotted with homes and cottages rises under a clear winter sky. The afternoon light brings out the russet tones in the bare deciduous trees and the deep greens of scattered conifers. The scene captures a common winter behavior in the region, where deer move between islands and mainland in search of food and shelter. The composition balances the open frozen surface in the foreground with the textured band of forest and human habitation along the far shore.

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Bell 505 on the Rocks

A Bell 505 Jet Ranger X, registration C-FFYT, sits parked on a rock ledge in this photograph shot by Duncan Rawlinson in the 1000 Islands. The helicopter’s white fuselage stands out against a wall of white pines behind it. Hard midday sun puts deep shadow under the rotor blades and picks out the danger marking on the tail boom. Below the skids, stacked blocks of granite drop away toward the water, with wild grasses growing out of the joints. The machine looks both out of place and perfectly at home on the rock. Ontario, Canada.

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Boathouse on New Ice

Duncan Rawlinson photographed this small bay by drone after an overnight snowfall in the 1000 Islands. A green-and-white boathouse and its walkway hold the left side of the frame, with two snow-topped docks reaching into the bay beside it. The new ice carries a skin of snow, and dark star-shaped drainage patterns mark the spots where water pushed up through holes and spread. Along the bottom of the frame the ice thins to nothing and the open river shows green. Every branch on both shores still holds the snowfall. A cleared path runs down through the trees to the shore, the only sign of anyone about. Ontario, Canada.

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