act 1 the impermanence
Photomedia
Hahnemühle German Etching
Backmounted on Archival Card
Framed with Larson Shadowbox
44 X 33 inch
48 X 37 inch after framed
act 2
Photomedia
Hahnemühle German Etching
Backmounted on Archival Card
Framed with Larson Shadowbox
40 X 30 inch
44 X 34 inch after framed
Yet, defiance takes root, and there are those who inevitably distance themselves from these monstrous concrete entities. In small, determined clusters, they venture towards an 'outside' that promises liberation from perpetual tumult. Those remaining 'inside' grapple with a paradoxical sentiment:
They pine for the return of the departed, a confirmation of life beyond their confines, yet simultaneously dread their reappearance a testament, perhaps, to the dangers lurking beyond.
Freud’s concept of the Uncanny resonates here: these images occupy a liminal space where recurring water motifs and subtle psychological cues mirror elements of lucid dreaming. Through this interplay of dream-inspired aesthetics and AI algorithms, I probe the boundaries of authorship. Where does my intention end and the machine’s intervention begin? This tension questions the conventional authority of the artist and foregrounds the role of technology as a co-creator.
Embracing Brutalism’s stark aesthetics highlights the uneasy equilibrium between power and decay. Its uncompromising geometry echoes the inherent discomfort in works that straddle real and fictive realms. By layering AI-generated manipulations onto photographic documentation, the final compositions challenge viewers to negotiate a porous boundary between revelation and illusion—prompting deeper inquiry into how we perceive space, influence, and truth.
Embracing the Inexplicable is a study of perception in an age where technology complicates our sense of reality. It stands as a dialogue between human intuition and algorithmic suggestion, exploring how the uncanny can spark both disquiet and discovery. In doing so, it broadens our understanding of artistic authority, urging us to reconsider the nature of creative authorship—and of reality itself.
2025 Huan Photism Who is fabricating the past?
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