KAROSHIBYXANU — 3D Artist
KAROSHIBYXANUI render bodies that shouldn't exist.
KAROSHIBYXANU — DR KAROSHI.
3D artist based in Brussels, Grimbergen & Paris.
Rendering bodies that shouldn't exist since day one.
"Every render is a body that physics forgot.
I work at the edge of beauty and wrongness —
where skin becomes material, gaze becomes proof."
[ COMMISSIONS CLOSED ] — WORK WITH ME →
[ CURRENTLY WORKING ON ] — MYSELF
TV Wall — Gallery Preview
— DU MONDE À L'ÊTRE —
I didn't build this site as a portfolio exactly. More like a memory — something that reminds me that every day I put one foot in front of the other.
CHARADESIGNS
Skin, hair, gaze. Rendered — not photographed.
I don't use professional model references.
I use faces I find interesting — people from my phone, screenshots, strangers, faces that photographers pass over.
Then I rebuild them in my software. Push the skin shaders until something breaks right. Light them until they look wrong in the exact way I want them to look wrong.
DELUSION is bodies mid-transformation. ROOTS is texture and ancestry and what skin remembers.
Neither series was planned — they grew out of images that refused to become something else.
These aren't pretty renders. They're portraits of people who don't exist, built from references of people who do.
CONCEPTS
Pain as performance. Horror as language.
Some of these images I almost didn't post.
This is where I work without a brief — no client, no direction, just a feeling I'm trying to pin down. Usually something uncomfortable. Usually something about bodies under pressure, held wrong, lit too close.
Horror isn't a genre here. It's a method. Pain isn't a theme. It's a compositional choice.
I don't plan these. I open the software and follow the image until it stops me.
Some of them I still don't fully understand. Those are the ones I trust.
Some of them become commissions — because I manage to connect the image to someone's face, to their universe.
MAZENKO
[ PROFESSIONAL WORK ] [ UNREAL ENGINE 5 ]Real client. Real world.
MAZENKO reached out and asked me to build his world.
He gave me the feeling, I gave him the geometry. Dark fantasy architecture, atmospheric interiors, cinematic lighting. Everything shot in Unreal Engine 5 — Lumen for the light, Nanite for the detail, my obsession for the rest.
Rush 8 took the longest. We went back three times before the atmosphere was right.
This is what professional work looks like for me: the same obsession, just with a deadline.
VESPER
[ PROFESSIONAL WORK ]Real client. Same obsession.
VESPER knew exactly what she wanted. That made everything harder and better.
I built her character in DAZ Studio — started with the base mesh, broke it apart, rebuilt the face from her references. Custom skin shaders, hair simulation in Blender, Iray for the final light.
The brief said photorealistic. What it meant was: make her look like herself, but the version she sees when she closes her eyes.
Three images. One video. I spent more time on the eyes than on everything else combined.
LADYSOLDOUT
[ PROFESSIONAL WORK ]Another client. Another world.
Four images. That was the brief.
LADYSOLDOUT came with references — fashion, attitude, a very specific kind of face. My job was to build it in three dimensions and make it feel like a fact.
My software as well — custom Iray materials, Blender for the details that matter. High contrast, all the attention on the surface.
I treated each render like a cover shot for a magazine that doesn't exist yet.
ENVIRONNEMENT
[ LABO ]The worlds where they end up.
Characters need somewhere to end up.
I build environments the same way I build faces — starting from a feeling, not a plan. References come from everywhere: horror films, brutalist architecture, screenshots from walks at 2am.
Unreal Engine 5 for the rendering. Blender for the geometry. Lumen handles the light. I handle everything else.
Some of these spaces were built for clients. Some were built because I needed somewhere to put a character who didn't have a home yet.
They're all real places. They just don't exist.
STILLS FRAMES
When the frame is the final render.
One frame. No story required.
I pull these from sessions that were going somewhere else — moments where the image stopped being part of something and started being enough on its own.
Shot in Unreal Engine 5, Blender, DAZ — wherever the image needed to live. Composed for print, not screens. One light source, one angle, no second chances.
I don't retouch stills. What the render gives me is what the render gives me.
Some of them I look at for a long time before I understand what they're about. That's usually when I know they're finished.
REMERCIEMENTS
Parce qu'on y arrive jamais tout seul.