The corporeal naturalism of carrion birds’ scavenging cycles is intermingled with machinery, delineating an alternate reality where technology is ingrained within ecology, where a subtly roboticized murder of crows consume the mechanical viscera of the human figure. Utilizing the 21stcentury’s cultural paranoia surrounding the uncertainty of rapid developments in artificial intelligence, the portrait serves as an allegory for an individual’s depersonalization at the liminal threshold between one era and the next, where unfulfilled youth is given little time to comprehend the advancing stage of adulthood. During such a transitory process we are dissected and disassembled -at a point in time you become the last you, and perhaps the last version of humanity in a machine-driven world.