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Koros

Poland

Where do you locate yourself in relation to the systems you work with?

I work at the intersection of painting and graphic processes, treating both as modes of thinking rather than fixed disciplines. Painting provides duration, resistance, and bodily decision-making; graphic work introduces segmentation, reproduction, and systemic structure. Artificial intelligence enters this position as a mediating force that destabilizes authorship and continuity. I occupy a space where painterly intuition, graphic logic, and algorithmic processes remain in tension—close to material practice, yet open to abstraction, fragmentation, and procedural agency.

Where are you heading, and what is pulling you there?

I move along a vector that shifts between surface and system. Rather than translating images from one medium to another, I allow painting and graphic structures to interfere with each other through algorithmic operations—cutting, recomposing, and re-scaling visual decisions. This vector resists clarity and linear development, favoring iteration, error, and partial visibility. What guides this movement is an interest in how the unknown operates across media: in the painterly gesture, in graphic reduction, and in machine learning’s fluctuating states.

How would you describe the space your practice is currently unfolding in?

My practice unfolds in a hybrid space shaped by painting, graphic reproduction, and computational processes. It functions as a dynamic coordinate system where images circulate between physical surfaces, printed matter, and algorithmic environments. This space is defined less by medium than by relations—between hand and system, presence and repetition, control and contingency. The work inhabits this space by producing visual fields that remain unresolved, inviting the viewer into moments where meaning is suspended and re-formed.
Published in >
The AI Art Magazine, Number 3
Hecate, AI generation, 2025.
Hecate, AI generation, 2025.
Koros, Hecate, AI generation, 2025

Description

Hecate explores transformation as an unstable, trembling condition rather than a completed change. Forms appear, multiply, and dissolve, as if caught between frames where identity cannot fully settle. The figure of Hecate emerges indirectly—through fragmentation, noise, and layered geometry—suggesting metamorphosis unfolding along time rather than within a fixed body. Algorithmic distortion and painterly gesture intersect, producing a space where control and contingency coexist. Grain, cuts, and interruptions act as traces of an unfinished reality, shaped by forces that exceed intention. The work inhabits the moment before meaning stabilizes, inviting the viewer to remain inside uncertainty, where becoming is more fundamental than being.

Process

The work originated from a bodily and emotional experience of sleeplessness, where physical discomfort mirrored an internal state of instability. During a night marked by restlessness and heightened sensitivity, a shadow on the ceiling became a catalyst—an apparition that connected anxiety, creative urgency, and the sense that not everything must be understood. This moment revealed the necessity of allowing an idea to materialize before it collapses inward. Hecate emerged as a response to that condition: a confrontation with inevitable transformation, karmic return, and the realization that individual shifts become insignificant within larger systems of shared coexistence.

Tools

The work was created using the NEXT 2.0 algorithm, developed as part of my broader research into AI as a procedural and conceptual collaborator, rather than a tool for image generation alone. The algorithm introduces controlled mutations, temporal layering, and structural fragmentation into the image. The enter and final composition and refinements were executed in Clip Studio Pro, allowing painterly intervention and graphic precision to coexist. This hybrid process reflects my ongoing practice of combining intuitive decision-making with algorithmic fluctuation.

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