The original paintings strip buildings down to simplified forms, heightened colour and minimal detail, hovering somewhere between documentation and unreliable memory. Rather than changing that visual language, the AR work builds upon it. Each painting becomes a portal into an additional layer of place-based storytelling. Animated creatures, invented folklore and subtle digital interventions emerge through a phone or tablet, allowing an otherwise static image to hold multiple versions of the same place: what was there, what is remembered and what might be imagined. Importantly, the digital layer does not attempt to reconstruct a definitive history. It deliberately introduces fiction. Folklore becomes a way of exploring how communities continually remake places through stories. That last paragraph is important. It gives the project conceptual rigour and prevents anyone reading it as “cute AR creatures added to paintings.”