Gene Gallery is pleased to present Huang Peishan's solo exhibition "Remade Scenes”, from 26 May 2024 to 24 June 2024.
The legitimacy of the image as evidence has long seemed eternal for photography, yet even within a mode of creation that is a complete record of objective facts, there is a hidden truth that can lead to misleading results: though the tools are honest, those who use them are not. As the productivity of Artificial Intelligence enters a new era, the endlessness and the pure artificiality of results, as well as the strong uncertainty of the tools themselves, are like the Song of Sirens, luring artists into exploration. At the same time, renewed context of the times shakes the solid authority of all the universal definitions and perceptions that have existed for so long in the past.
Strongly interested in the notion of "artificiality", Huang Peishan has been incorporating AI into her creative tools since spring 2023. In the latest series of her works on display, the artist starts from the familiar mediums of traditional photography and sculpture, and combines them with PS and AI to "re-create" materials and inspirations extracted from daily life scenes. By repeating and debugging several times to approach a specific "scene" preset, the artist realizes the photography of imaginary space, and re-presents the "reproduced scene" in the form of an installation. This series of works can be seen as an experiment that aims to both "exploring the possibilities and boundaries of co-creation between different media" and "building a virtual space for emotional support based on the artist's personal preferences”. It continues Peishan's previous discussions on imitation, simulation, the desire to make things, and poetic aesthetic preferences, and questions the legitimacy of "image as evidence" in the specific context of "man-made" subjects: the artist seeks to create "seemingly correct" but flawed images, which are defined as photography of imagined space, which the image appears to be evidence of the actual existence of the imagined situation, while the flaws become evidence that the space and landscape within the image have been digitally edited and simulated to achieve "simulation".
The legitimacy of the image as evidence has long seemed eternal for photography, yet even within a mode of creation that is a complete record of objective facts, there is a hidden truth that can lead to misleading results: though the tools are honest, those who use them are not. As the productivity of Artificial Intelligence enters a new era, the endlessness and the pure artificiality of results, as well as the strong uncertainty of the tools themselves, are like the Song of Sirens, luring artists into exploration. At the same time, renewed context of the times shakes the solid authority of all the universal definitions and perceptions that have existed for so long in the past.
Strongly interested in the notion of "artificiality", Huang Peishan has been incorporating AI into her creative tools since spring 2023. In the latest series of her works on display, the artist starts from the familiar mediums of traditional photography and sculpture, and combines them with PS and AI to "re-create" materials and inspirations extracted from daily life scenes. By repeating and debugging several times to approach a specific "scene" preset, the artist realizes the photography of imaginary space, and re-presents the "reproduced scene" in the form of an installation. This series of works can be seen as an experiment that aims to both "exploring the possibilities and boundaries of co-creation between different media" and "building a virtual space for emotional support based on the artist's personal preferences”. It continues Peishan's previous discussions on imitation, simulation, the desire to make things, and poetic aesthetic preferences, and questions the legitimacy of "image as evidence" in the specific context of "man-made" subjects: the artist seeks to create "seemingly correct" but flawed images, which are defined as photography of imagined space, which the image appears to be evidence of the actual existence of the imagined situation, while the flaws become evidence that the space and landscape within the image have been digitally edited and simulated to achieve "simulation".
