The Seduction of AI

International Digital Miniprint Exhibition 15 

The Seduction of AI

 

According to experts, artificial intelligence should replace all human activities and free us from repetitive tasks. In order to be accepted, AI is often portrayed as an android at our service. However, scientists believe that AI will inevitably overtake the human species and that we will become a half carbon, half silicone creature.
Intelligent Aphrodite and The Seduction of AI are reflections on the seductive power of the beauty of AI. As if the innocence of beauty cannot disguise a more sordid reality.

 

Lady Agnew

Re-interpretation

Lady Agnew by John Singer Sargent

I have been fascinated by the bourgeoisie portraits of the end of the 19th century. The technique used by these artists — here John Singer Sargent — is remarkable: a mix of classic composition and unique drawing skills, combined with a freestyle painting technique closed the modern abstract art.

This reinterpretation was meticulously created using vector drawing, a style that emphasizes lines and solid colours rather than texture. The result is a remarkable utilization of lines, capturing the essence of the original masterpiece with precision.

 

Lady Hamilton

Objet d’art

Lady Hamilton

This vector composition presents an interpretation of Georges Romney’s portrait of Lady Hamilton. Inside Tate Britain, a small portrait of Lady Hamilton exists, depicting the renowned beauty as Circe in George Romney’s study.

In a tribute to Piero Fornasetti and his muse Lina Cavalieri, this artwork creatively transforms the original painting into a half-tone image.

 

No Beginning, No End

International Digital Miniprint Exhibition 13

No Beginning, No End

Certain historical events such as Samothrace’s triumph and the notion of the flow of consciousness acted as significant starting points. The juxtaposition of temporal disturbance versus spatial disturbance implies the existence of an abstract framework: an explosive burst of creativity and a multitude of endlessly recurring shapes, along with introspective thoughts devoid of purpose.

This composition employs the kaleidoscope effect, intricately weaving a tapestry of birth and death, symbolizing the eternal cycle of nature’s rhythm.

Selfies

International Digital Art Miniprint Exhibition 12 — I babble, therefore I am

Selfies

The mobile has popularized the practice of self-portrait with the irruption of “selfies”.

The Selfies series is an effusion on vanity. The universal beauty of a face rests on the aesthetic canon of the golden number. That is, the proportions between the position of the eyes, the nose and the mouth are based on the value of the number pi (1,618).

To do this, I manipulated my selfie by cutting the left part of the face and shifting it to the right, creating an image corresponding to the ideal ratio. I then retained the characteristic elements of the anatomy of my face. The decorative treatment of the image reinforces the superficiality of the subject, Andy Warhol’s half-tone and a Voronoi diagram in the background.

Entanglement

At the Crossroad

Entanglement

Entanglement explores the ambiguity inherent in the creative process by privileging the random to the detriment of the subject. Its organic and unfinished character pays tribute to abstract expressionism, especially the practice of dripping popularized by Jackson Pollock. The entanglement of colored filaments also recalls the network of neuron and axon extensions.

In another order of ideas, entanglement is part of the current philosophical reflexion related to quantum mechanics. In particular, to the theory of probabilities where the existence of a phenomenon is related to the experience of the viewer where two contradictory states coexist (Schrödinger’s cat’s paradox). The ambivalence of the work — painting, sculpture or weaving — invites the spectator to wonder about the superficiality of classifications and genres (fine arts or crafts) and to accept the existence of simultaneous states and multiple universes.

Dada 1. A composition of letterforms, rules, words and silhouettes of Dada's stage costumes.

Dada

International Digital Miniprint Exhibition 11  

Dada

Dadaism used graphic arts as a preferred means of expression. Graphic artists such as Kurt Schwitters developed a visual language composed of movable types reproduced on mechanical printing presses. This means of reproduction gives Dadaist publications their handmade style .

Dadaism puts words in front. Random words are reassembled following the order of the draw. The typography of words breaks the graphic standards of the time by combining modern fonts with traditional characters, creating a chaotic composition. Dada also marked the theatre by its unusual lyrics and eccentric costumes.

Dada 1 and Dada 2 explore these aspects of Dadaism. The geometric designs are  inspired by Dada costumes. Their iconic treatments are in a contemporary style, although many Dada used Dingbat characters as the symbol of the hand.

The special effects of old paper and faded colours are a reminder of Dada works exhibited in museums. These publications were not designed to last long. They were revolutionary actions against the bourgeoisie and the establishment in reaction to the horrors of the Great War.