The Red Balloon project brings together the photographer’s body, war photography, and artificial intelligence. The idea for this work emerged while experimenting with AI to generate images from war archives. I discovered that AI systems refuse to process photographs containing violence, revealing a paradox: the reality of warfare is far more violent than what these images show, yet even their limited depiction is censored. In the history of war, bodies are censored while power and territory remain the focus. Photography has always reflected fragments of reality, but in today’s era—saturated with digital manipulation—it is crucial to question how the power of photography becomes a threat to governments. For example, in the United States, the documentation of war often requires government permission, ensuring that bodies and their narratives are erased or controlled. AI repeats this act of censorship, producing new, sanitized narratives of archives and bodies. In this project, I responded to AI’s restrictions on violent imagery by covering parts of bodies in historical war photographs with red circles. AI then transformed these circles into red balloons. This artificial transformation symbolizes how truth in media is manipulated and reshaped. By combining these AI-generated videos with performances using my own body, I created a work that critiques the censorship of bodies whose narratives of war diverge from the authorized story.