In aesthetics, the uncanny valley is a hypothesized relationship between the degree of an object’s resemblance to a human being and the emotional response to such an object. The valley is the point at which one feels eeriness and awkwardness when coming face to face with a being of extreme human resemblance, which is not human. Sound artist Luc Messinezis invokes aural simulacra of the order of sorcery that mask the absence of a profound reality. Sculptor Yiannis Brouzos calls upon metal simulacra of the order of maleficence that mask and denature a profound reality. Together in their work, Flowers from the Uncanny Valley they bring the valley into the realm of the real. They create a physical metaphor of a place where the fake and the real can no longer be distinguished. Within the valley, roles reverse and the ambler enters the chilling dream of the precession of the simulacra. Metal sculptural flowers, through a sonic process of diffusing realistic yet completely synthesised soundscape elements, conjure an artificial habitat without original, empowering the visitors to walk through an environment where the artificial is the real and the real emerges as the uncanny.