Taslima Ahmed
Reconstructor Paintings

Over the past ten years it seems like the history of painting firmly got detached from its creators and therefore split into a history of artists on one side and a history of painting on the other. Whereas the former keeps following ideas of progress, the narrative of the latter came to a halt after Epson-printed canvases and post-painting gestures to otherwise regress into rehashes of figurative, symbol- and meaning-laden “Schinken” on the other. Meanwhile the hopes and desires for a renewal of painting were projected on the nascent medium of digital tokens aka NFTs. For a painter, this seems absurd. Why not use whatever affective ephemera coming out of the more and more organic relationship between humans and computers as material for painting?

Another one appears as a set of brushstrokes in a grid, whilst actually reproducing data visualisations of GPS-signals from electric cars; in other words, data that produces content that appears human, as it is so often in our digitally permeated time. A painting titled Blackboxing (2022) places an imitation of a charcoal drawing of a human figure into a virtual space next to two gestures that seem to exist on two different axes or planes within that grid.

Works named Minimal Data and Artbreeder deploy AI – one of which using a GAN (Generative Adversarial Network), in which two algorithms goad each other until they themselves can’t discern their results from human output any longer, and the other feeding over 20 images that, according to tests, can not be identified by a computer into an AI that “crossbreeds” the “genetic patterns” of the images, merging them into what appears like a stack of unrecognisable forms.