For my most recent exhibitions and a series of works titled Soft Approximations I fed the documentation photos of my Approximation artwork series to image-generating AI algorithms as input. The resulting images mutated and reconfigured the original artworks in ways that a human artist perhaps would not be able to do. I’m using these resulting generated images as approximations, models of new potential sculptures, to be translated into three- dimensional shapes by a human again. I’m trying to bridge the domain of biological structure predictions in scientific research and approximations that occur within art and human intuition. I am specifically interested in the challenge of translating between two worlds: from a digital approximation to a very material manifestation using craft as a way to humanize the statistically generated “artworks” of the algorithm. For Soft Approximation series I am using a mixed variety of materials: 3D-printed clays, resin elements, natural minerals like carnelian and quartz, tin and aluminium and so on. The point is almost to disregard the cannon of sculptural art history, and chase only the most uncanny combinations of form and matter. The resulting sculptures can be seen as echos and ghosts of the original animals whose photos were taken, the sculptures I originally made using those photographs, the documentation images of the sculptures, the dataset and her final artistic input. They are perhaps like data zombies that crawl and re-emerge after being turbulently shuffled between physical and digital domains, between breathing bodies, powerful emotional responses and machinic ambivalence.

‍