A.I. ART
Many of us already use AI without thinking about it—text correction, image upscaling, web searches, and many other small tasks. It has quietly entered everyday life. At the same time, there is something unsettling about relying on tools that may eventually dismantle entire professions and ways of working that seemed essential only a moment ago.
I have seen a similar shift before. When I studied design, the craft was very manual. We spent hours drawing the meeting point of two lines in black ink, correcting tiny mistakes that spilled beyond the perfect joint with white paint. Entire floors of the building were dedicated to typography blocks, film negatives, and traditional printing techniques. When the first Apple computer arrived in the teachers’ office, it felt like an alien object no one quite knew what to do with. Within a few years the entire building had changed. The old methods quietly gave way to the digital era.
At that moment I was trying to find my place in the traditional art and design world, but I was either too experimental or not artistic enough in the conventional gallery sense. The arrival of computers and the internet opened another path. I understood instinctively what could be done with these new tools, and I managed to convince CEOs to hire me to create interesting things with them. Suddenly we could create online exhibitions reaching the whole world, cool spontaneous animations, and dynamic websites. Each year we waited for faster connections so that higher-resolution video could finally travel through the network.
It felt like arriving at exactly the right time. The web was beginning to connect the world, and now video could now appear on mutliple large screens in events and parties without the heavy infrastructure of traditional production. I could show images to a thousand people even if they had been filmed earlier that same day with a camcorder or transformed on a computer with text and animation. The classical design world and film studios did not see it coming. For us, it felt exhilarating.
As an image-maker often working with limited budgets—restricted sets, locations, and crews—AI also opens doors to visual worlds that once existed only in imagination. Yet my desire remains the same: to work with real people, to film real places, to use real light and physical sets, to travel, and to create and project work in front of live audiences. AI will simply become another tool in that process. In some ways, it reconnects me to one of my earliest inspirations: the graphic novels of my youth, where artists could build deeply personal universes, independently and without constraints. In that spirit, these new tools offer another way to extend the language of images—pushing it toward territories that once felt impossible to reach.
