Il Capo, Oil Stick, Acrylic & Oil on canvas, 100cm x 120cm, 2024

A continuation from ‘Artificial Realism’. This painting signifies the starting point of my exploration of AI. The AI generated image of the Pope wearing a white, garish puffa jacket trended on the internet in the infancy stages of AI highlighting both the power and challenges that AI presents to society. With the spread of misinformation and deep fakes being the initial cause for concern. This depiction of the Pope is seen through a playful, satirical lens, loitering by a post box on Camberwell green. It plays with the absurdness of the situation perhaps participating in some dodgy organised crime alluding to the alleged mafioso, mob-like qualities of the Catholic Church.

You mentioned that digital drawing serves as a versatile medium for developing ideas, while oil painting adds richness and flexibility. How do you decide which medium to use for a particular piece, and how does each medium contribute to the overall impact of your work?

I find working digitally very efficient, chopping and changing allowing the iterations to be swift and concise. This leads to more options to explore in a fraction of the time. Once the composition is understood the painting element moves on and is often different as changes are made as I go along. I add multiple and different layers and vary textures to enrich and alter the light on the painted surface.

The transition from 2D to 3D through plasticine sculptures helps emphasize certain qualities within your works. Can you discuss how this shift in dimensionality enhances the themes you explore, particularly in relation to Artificial Intelligence?

A good example of how AI has been involved with my work is the robotic plasticine model, which was part of my show. This sculpture was programmed and engineered by Dave Jedeikin, using electrical motors and sensors. A code was written which programmed this robot to interact with the audience when people came into its censored area. In other examples of my work, the sculptures created are used to help emphasis the satirical nature of the subject in the painting as opposed to more specifically AI. However the transition to 2D to 3D can be pushed to animation when my paintings are digitalized. Using stop frame animation the paintings transition and evolve from a conventional oil painting format into a sculpture bringing the digitalized experience to life. I enjoy playing around with standard conventional processes.  

Your show titled 'Artificial Realism' curated a diverse group of creators and professionals to reflect on the question of real versus fake in the context of AI. Could you share more about the conceptualization and execution of this show, and what insights you gained from the collaboration?

The show at their Gallery was a great experience of combining different artistic practices towards a shared concept of Artificial Realism. Each work helped deliver an interesting take on the subject matter as well as  different perspectives. The exhibition itself was more to showcase contemporary art in relation to AI and how it can comment on the various threats and benefits of what it has to offer. Providing a space for the viewer to learn about AI’s potential and what it offers for the future whilst enjoying the satirical, playful element of a challenging topic and the individual human perspective. 

How do you perceive the power, accuracy, and speed of AI impacting our society, and how does this influence the urgency of the questions you explore in your artwork?

As it constantly evolves many themes spark new interests within the topic of AI - privacy, misinformation, technological advancements, homogenised groups, individualism and human connection to name a few.

AI covers such huge subject matter with so many different cross overs that it’s hard to hone in on one particular area. We are at an interesting point in time - many people are now more worried about what goes on in the digital world than in the real world, yet the real world is (supposed to be) our reality. It is crazy to have so many different algorithms now each representing and appealing to different social groups/tribes that people affiliate to. These algorithms set out to present people with a world they recognise, feel safe in and approve of. These algorithms are constructed  to differently impact on and heavily shape the way we all carry out our day to day lives, what we do on the weekends, what we read, watch, wear, buy, eat, think, even what emojis we are likely to use. However what they don’t do is challenge our cognitive biases. Our world has become polarised towards our own particular algorithm. The experience of open debate and critical thinking is being eroded - a frightening prospect. The more I think about it, the more I think we will become brain dead in 10/15 years time having lost all ability to challenge and question, becoming overly reliant on technology, morphing into domesticated house cats.  

Il Capo, Plasticine Sculpture, 38cm x 40cm, 2024

As the distinction between AI-generated content and human-created content becomes increasingly blurred, you mentioned the importance of relying on our own lived experiences. How do you incorporate this concept into your artistic practice?

I am particularly weary at the insidious prospect that ideas can become conflicted with and blurred by an AI generated idea. Is it my perspective or is it AI’s perspective, is this a chicken and egg situation? I like to build on concepts and ideas from my lived experiences and real people. This is one of the drivers for Camberwell Green becoming the main setting of my recent paintings. It is a space I am extremely familiar with, it is where I have grown up. It reminds me of being an adolescent. Growing up in London as a teenager Commons and Greens were the popular places and spaces for young people to congregate. At that age and particularly in an inner city environment my experience was that class and wealth were less important than social interactions. My experience was that teenagers were more interested in hanging out in large groups with more power in numbers. 

Your statement highlights the use of new technologies to explore and reveal AI's capabilities through your work. Could you provide examples of how you integrate these technologies into your artistic process, and what discoveries you've made along the way?

The AI software I’m engaging with most at the moment is MidJourney. This tool's creative potential seems infinitely powerful and its capabilities apparently limitless. It can be used as a tool for inspiration/storyboarding. I use it  to quickly iterate a familiar image, tweaking and making additions to heighten the absurd nature of the image. I have also recreated some of my paintings through prompts, generating stop frame videos of this by compiling the images together creating ongoing loops. Having said this, I carry out most of my creative research in person walking, talking and observing. 

In what ways do you hope your artwork contributes to the broader discourse surrounding AI and its implications for society? What conversations do you aim to spark with your audience?

I don’t intend to be too negative or dystopian with regards to AI. My take on it is often playful and satirical, but I like to think there is an underlying seriousness to it, through messaging and subject matter. Including AI’s capabilities in my work is not only a learning experience for me but also for the viewer. It showcases the tools that are available, as well as what is possible and asks what might the future look like? What different ways of thinking and different forms of work are there? What is real and what isn’t? I want people to look at my work and think of how it might affect the way they think and live, be more critical and question what information they’re consuming, what deserves their attention? Having said this, I also hope to project and provide optimism and laughter. I particularly enjoy this part of my practice - satire is a great way of addressing serious issues.

How do you navigate the ethical considerations surrounding AI in your art-making process? Are there specific ethical dilemmas or challenges that you grapple with as you delve into this subject matter?

I’m particularly fearful of what ownership of image rights might look like in the near future. This is a seriously unknown landscape which could be devastating for many creatives. If your image is amalgamated by AI into a different form it essentially becomes an interpretation even if it represents and was inspired by the original image. Then who does the work belong to?

Looking ahead, what future directions do you envision for your exploration of AI through art? Are there any particular aspects of AI or related technologies that you're eager to delve into further in your work?

I want to keep on exploring different, novel AI technologies which can be used to amplify and push my work. Artists have always used tools to push their work, so it’s not a complete novelty. But I am interested in showcasing as well as learning what the latest AI technologies are available to the public. 

Describe a real-life situation that inspired you.

My Sri Lankan grandfather has been a huge source of inspiration for me. As an immigrant in the 1950s arriving in London with nothing. He proved that if you apply yourself, show courage, grit and determination things can happen. He was a real doer. 

Need a friend? Get a [robo]dog, Acrylic & Oil on canvas, 70cm x 60cm, 2024

This painting explores the playful exchange between a domestic dog and a robotic counterpart as they converge in a spirited game of fetch. Where one is instinctively driven while the other is programmed to play. This reflects on merging technology and emotion. Could artificial companionship mirror the warmth of a natural bond? Could animal decoding AI technology via built in speaker collars be the answer?

Be nice to Robots, they’ll remember, Plasticine Sculpture, 22cm x 52cm, 2023

Engineered by @daverockjedi, 3D printed PLA, Mild steel, Aluminium 6063, Adafruit nrf52 microprocessor, Adafruit 16 channel servo driver, Sonar Sensors tracker, Software Written in C++, When last did you catch yourself lost In the moment of play? When did you stop playing? Why do we all stop playing? Why does society reserve play for the young? Play keeps us young while life grows us old. Go play.

Camberwell 2030, Acrylic & Oil on canvas, 152cm x 121cm, 2023

This painting portrays a dynamic landscape of Camberwell Green, a public square in the near future, post Al; making subtle references to our current timeframe at the same time envisioning futuristic moments from the developments of Al.

Highlighting familiar materials and objects to blur the lines between the present and future. Camberwell Green, is a landmark close to where I was raised in South London. A space, full of life and energy. A diverse social melting point bringing varying cultures and communities together. The painting features encounters, engaging in social and political themes throughout such as mass surveillance, misinformation, technological advancements and human connection.

The subjects within the painting represent real people from Camberwell that either work or live within the local community. After carrying out interviews, an understanding of their fears and hopes on Al at a community level, a real picture was painted on the perspectives of Camberwell Green.

Overdose of Joy, Oil Bar, Charcoal, Acrylic & Oil on canvas, 190cm x 250cm, 2024