Brainstorm 1
Using AI, I want to create a series of uncanny images depicting people dressed in monster suits, seamlessly integrated into mundane environments. The AI would emphasize hyper-realistic details, such as the texture of scaly skin peeking out from under a tailored suit or the glint of sharp fangs behind a forced smile during a presentation. The juxtaposition of the monstrous and the mundane creates a chilling commentary on how modern work culture can strip away individuality, turning people into unrecognizable versions of themselves.
I want AI to not make things so perfect but instead maybe go crazy and make some creatures have elongated limbs, too many eyes, or unnatural proportions. The lighting could be cold and fluorescent, casting harsh shadows that emphasize the unnatural features of these monsters. By blending the familiar with the grotesque, the images would evoke a sense of unease, forcing viewers to confront the dehumanizing aspects of modern work life while marveling at the surreal beauty of the AI-generated visuals.
"They live"
Artist statement 1
Using artificial intelligence as both a tool and a collaborator to reimagine the aesthetics of the past. By blending the eerie charm of vintage photography with the surreal possibilities of AI, I create hauntingly familiar yet unsettling images that evoke the spirit of mid-20th-century monster movies, carnival sideshows, and forgotten family albums.
The process begins with AI-generated portraits of people dressed in elaborate monster suits, their costumes and poses meticulously crafted to mimic the low-budget, handcrafted aesthetic of early horror cinema. These images are then going to be transformed into looping videos using AI animation techniques. The final step involves projecting these animated portraits onto three-dimensional sculptures, creating an immersive experience where the boundaries between the digital and the physical, the past and the present.
Through this work, I aim to interrogate our relationship with memory, technology, and the grotesque. The uncanny nature of the images—both familiar and alien—invites viewers to question the authenticity of what they see, while the use of AI as a creative medium challenges traditional notions of authorship and artistic control. The sculptures, acting as both canvas and screen, ground the digital ephemera in the tangible world, creating a dialogue between the virtual and the real.
Ultimately, this project is a meditation on the ways in which technology can resurrect and reinterpret the past, transforming it into something new and unexpected. It is an exploration of the strange beauty that emerges when the artificial and the human collide, and a celebration of the enduring power of the monstrous to captivate, disturb, and delight.
I have always been interested in how psychedelics can alter the human brain in the way that it thinks and views things during a trip. All of a sudden everything in this world starts to makes sense even if it shouldn't. After reading this article I felt the same way about A.I. and how it is able to completely alter an image until it is not recognizable. In this article it talks about how an image is fed over and over and over again through the A.I. generator until it becomes shapes, colors and patterns. These images from my experience look close to what you would visually see on psychedelics. Everything around you starts to morph and feels like the environment around you is moving/melting. It is fascinating to me how A.I. basically has a mind of its own and does what it wants. In other words its a self feeding machine that gets stronger and stronger as technology advances. In a way I also think that this method of creating artwork can be very genuine depending on how much the artist manipulates/pushes it. As an artist I have nothing against A.I. and in fact think that it should be used to its advantage that being whatever the artist desires to do with it. I like this article because I think of A.I. as a psychedelic in the way how it changes the users perception of thinking and creating.
Reading blog 2
https://craigboehman.com/blog/in-defense-of-ai-art
I chose to write about this article because it talks about a very important point about A.I. in the art world specifically. It brings up a point that is commonly talked about in the art world involving A.I. which is that A.I. could replace artists. After reading this article it became clear to me that A.I. is not something that will replace artists but instead it is a tool that could help many artists in different ways. In the article it mentions that A.I. is able to create the base of an art piece as a starting point and the heavy lifting is done by the artist. It also talks about other ways it could be used for example like assisting the artist in modifying, editing a piece or improving the work that had already been created by the artist itself. I think people who say that A.I. will replace artists, have truly never even used A.I. before or understands how it truly works. The point of being an artist is to experiment and to be open minded to trying out new methods of creating. If the artist does not experiment at all then are they even an artist? An artist should use the tools they have to their advantage and master them to the point that they are no longer masterable. Another discussion that is brought up in this article is the fact that anyone can make A.I. art. Well i could also say that anyone can make art but does that mean that anyone can make great interesting unique art? Well no not everyone can and same goes with A.I. generated work. You still need to be interesting enough and creative to make great work out of A.I. The artist has to understand how to manipulate A.I. to make it interesting for themselves. My point is that A.I. should not be taken as a threat that will destroy the art world but instead a tool that can be used by artists in many ways.
Honestly, I think the outrage over AI "stealing" art is overblown. Yeah, tools like Stable Diffusion were trained on copyrighted work, but so what? Humans learn by studying existing art too. Does that mean every artist who ever copied a style is a thief? AI doesn’t just spit out identical copies; it remixes ideas into something new, the same way artists have done for centuries. The don't believe the real issue is the tech but instead it’s how companies profit from it without giving back. But instead of blaming AI, why not push for better systems? Imagine if artists got royalties every time their style was used, like musicians do with samples. The problem isn’t innovation; it’s capitalism. And let’s be real: AI isn’t replacing real artists. The people crying foul are often the same ones who’ve spent years gatekeeping art behind expensive schools and elitist circles. Now that a kid with a laptop can make something cool, suddenly it’s "theft"? AI is just a tool and it can’t replace human creativity, only cheap clients who never valued art enough to pay for it in the first place.
Brainstorm 2
My plan involves using AI to transform eerie, hyper-realistic AI-generated images of surreal creatures into animated videos, bringing them to life with subtle, breathing movements that blur the line between digital art and reality. First, I’ll generate high-resolution images of uncanny, biomechanical or organic creatures using tools like Stable Diffusion, focusing on intricate details—wrinkled skin, fibrous muscles, or glistening eyes—to make them feel unsettlingly real. Next, I’ll animate these still images using AI video platforms like Luma, applying delicate motion to simulate lifelike behaviors: a slow inhale/exhale cycle, slight twitches, or ambient swaying as if underwater. The challenge will be avoiding the uncanny valley by balancing fluidity with imperfection—think Studio Ghibli’s creatures or the haunting mutations in *Annihilation*. The goal is to create short, hypnotic loops where these beings seem to exist just beyond reality, leaving viewers unsettled yet mesmerized. Next steps include testing brief clips, refining motion parameters, and experimenting with hybrid techniques like rotoscoping to enhance the organic feel.
"Synthetic beings"
Artist statement 2
This project explores the tension between artificial creation and organic plausibility, generating beings whose labored breathing and twitching muscles suggest a consciousness struggling to emerge from pure data. Using AI as both collaborator and material, I conjure entities with glistening skin and shuddering anatomies - their forms familiar enough to trigger recognition, yet unsettlingly wrong in their proportions and rhythms.
The animation process becomes an act of artificial respiration. Through constrained AI video tools and manual interventions, I engineer subtle movements - a fluttering eyelid, an involuntary muscle spasm, the slow inflation of alien lungs. These micro-gestures accumulate into something resembling life, though deliberately flawed. The creatures move with the hesitant cadence of systems approximating biology, their imperfections highlighting both the potential and limitations of synthetic life.
My work confronts the visceral discomfort of the almost-alive, inviting viewers to witness digital beings that seem to be dreaming of flesh. In these liminal spaces where code mimics biology, I examine our growing capacity to create - but not fully comprehend - new forms of existence. The result exists in the uncanny valley between fascination and dread, where every synthetic breath questions what it means to be truly alive.
brainstorm 3
I’m fascinated by the idea of repurposing digital found images—scraps of online visuals, glitches, or AI-generated fragments—and giving them new life as physical objects through silicone image transfers. Silicone’s translucent, malleable quality could distort and warp these images, blurring the line between digital and tactile. The transfer process might degrade or reinterpret the original pixels, introducing organic imperfections that contrast with the image’s digital origins. To push this further, I want to use projection mapping to overlay animated or interactive digital elements onto the silicone transfers, creating a hybrid reality where the physical and virtual coexist. The projections could react to movement, alter colors, or even glitch in response to touch, adding an unpredictable, performative layer. This approach questions authenticity in the digital age—how do images gain or lose meaning when shifted across mediums? By combining static silicone transfers with dynamic projections, the work could explore themes of memory, decay, and the artificiality of our visual world. The silicone becomes a screen, a skin, and a relic all at once, while the projections suggest a fleeting, ever-changing digital consciousness imposed upon it. The result is an uncanny interplay between permanence and flux, asking viewers to reconsider how we interact with images in an increasingly mediated existence.
artist statement 3
This project demonstrates the tension between reality and artificiality by transforming digital found images into tactile silicone transfers, then animating them through projection mapping. By lifting fragments of online ephemera—glitches, AI-generated visuals, or discarded digital artifacts—I reincarnate them in silicone, a material that distorts and softens their rigid pixel origins. This process bridges the virtual and the physical, creating hybrid entities that exist in both realms.
Projection mapping adds another layer, overlaying digital motion onto the static silicone forms. The projections react to their environment—shifting, glitching, or dissolving—inviting viewers to question where the "real" ends and the artificial begins. This interplay mirrors our daily engagement with screens, algorithms, and synthetic identities, where boundaries blur and meaning becomes fluid.
Through this fusion of materials and media, I investigate how images mutate across dimensions, how memory degrades yet persists, and how technology mediates our perception of existence. The silicone acts as a skin, a relic of the digital, while the projections pulse with algorithmic life. Together, they form a dialogue between permanence and impermanence, challenging the viewer to navigate the liminal space where reality and artificial entities converge.