Bernstein’s Inventory of
Creative Artifacts

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The truth is a matter of imagination.
(K Le Guin, 1989)

The media are not toys… they can be entrusted only to new artists, because they are art forms.
(McLuhan, 1954)




































© 2025 Pedro Bernstein. All rights reserved.

Using Artifacts as 
Entry Points to Contextualize Media
Bernstein’s Inventory of Creative Artifacts is a living archive where each object becomes an entry point into my practice. It does not separate commercial projects from imagined ones; it lets them coexist as fragments of a larger, unfinished work—books, props, images, and other artifacts that move between the studio, the set, and the page.

My practice moves between advertising, conceptual design, literature and speculation. Many ideas that arise in the commercial process (in the speed of a pitch, in visual research, in late-night reading) are not absorbed into a brand’s creative vision, or sometimes have nothing to do with it at all. This inventory gathers some of those that materialized, along with other fictions that have yet to find their context.¹ 

¹ Techniques developed in fictional work often migrate into commercial work, and vice versa. Some fictional pieces have entered the commercial world as tangible artifacts—Salt & Sky, for instance, began as an invented book and later became the narrative pretext for a children’s campaign. Conversely, the Gucci project integrated generative AI not only to visualize an idea (as fiction often does) but to materialize it; its post-production even incorporated streetlights originally generated by Midjourney.