THE SECOND RENNAISSANCE: FEMALE GAZE MEETS ALGORYTHM (2024-25)



Artificial intellligence co-creation

AI diffusion images, text prompts




The Second Rennaissance restages classical tableaux through a working score that pushes a general diffusion model away from male-coded defaults. The score is simple and operational: women organise the action, exchange the look, and handle tools of knowledge; men, if present, do not govern the scene. This shifting gaze also occasionally drifts towards non-humans, granting them protagonism within the scenes.


The system is treated as material rather than neutral medium. Images are produced through iteration, selection and refusal, and glitches are kept to make the seams of collaboration visible, exposing where the dataset pulls back to canon.




The installation does not merely animate still life but reimagines it as a living system — a site where representation is a co-constituted event. Time is not external to the image but enfolded within it, made visible through hesitation, repetition, and drift.


Thus, the work invites a “durational gaze” that attends to emergence rather than form, and recognises instability not as failure but as generative potential. In resisting compositional closure, the work gestures towards a way of seeing attuned to subtle shifts and relational entanglements. Matter becomes the co-creator of its own expression, destabilising conventional notions of authorship and representation, and disrupting any stable boundary between agent and environment.
























Borrowing the polish of canonical style while undoing its optics, the project asks how much an algorithm can unlearn and how far historical imagery can be repurposed into counter-iconography. Each work is accompanied by process notes—prompt, negatives, refusals—and by. The aim is not to use AI as an instrument that reveals its own bias while opening new narrative space. The result is a set of scenes where study, strategy, care and decision -- traditionally backgrounded -- return to the foreground with women as agents, not ornaments.



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