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parlagreco

Argentina

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

I locate myself inside systems without fully belonging to them. I work from within technological infrastructures—artificial intelligence, real-time engines, interfaces, institutional frameworks—while maintaining a critical distance from their promises of neutrality, efficiency, and control. My position is neither celebratory nor purely oppositional. Instead, it is one of situated friction: inhabiting systems long enough to expose their biases, limits, and ideological structures, especially in relation to how bodies, identities, and images are produced and governed. I occupy a space between disciplines—art, design, theory, pedagogy—where boundaries remain porous. This in-betweenness allows me to operate through fragments and continuities: between manual gesture and computation, authorship and delegation, visibility and opacity. My work insists on staying unresolved, resisting fixed positions in favor of process, iteration, and relationality.

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

I am moving toward practices that redistribute agency—away from singular authorship and toward shared, negotiated processes involving humans, machines, environments, and viewers. What pulls me forward is a persistent question: how can images, systems, and interfaces remain open to becoming rather than closure? I follow vectors of mutation, feedback, and drift. I resist trajectories that frame AI as either an autonomous intelligence or a mere instrument. Instead, I explore it as a co-producing force that alters intention, temporality, and responsibility. Queer theory, media archaeology, and posthuman thought guide this movement, not as references to illustrate, but as tools to destabilize norms—of identity, of vision, of technological progress. Teaching also acts as a vector: the classroom as a testing ground where experimentation, failure, and collective thinking continuously redirect my practice.

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

My practice unfolds in a hybrid, elastic space that blends physical installations, virtual environments, algorithmic processes, and pedagogical contexts. It is a space shaped by screens, projections, game engines, sensors, and bodies moving through them. Rather than occupying space passively, my work tends to deform it—introducing temporal loops, layered visualities, unstable viewpoints, and interfaces that invite analysis and hesitation.
Published in >
The AI Art Magazine, Number 3
Iterations on agency, AI generation, 2025.
Iterations on agency, AI generation, 2025.
parlagreco, Iterations on agency, AI generation, 2025

Description

Iterations on Agency is an artistic research–based installation that explores the encounter between human gesture and artificial intelligence as a shared field of agency. The work originates in watercolor paintings that depict intertwined, dissident bodies. These images are then observed, interpreted, and iteratively transformed by artificial intelligence algorithms, generating a continuous process of variation and reconfiguration. Through this dialogue, agency is displaced from a single authorial source and redistributed between the artist, the machine, and the images themselves. The algorithm does not merely replicate the original composition, but expands and destabilizes it, producing bodies in constant mutation that resist fixed identity, stable form, and normative classification. The work situates queerness as a space of friction between representation and becoming: a zone where bodies exceed the frames that attempt to define them. Projected onto suspended translucent fabric, the images appear ephemeral and unstable, reinforcing the idea of identity as a fluid, iterative process. In this ongoing negotiation between the human and the machinic, the work refuses a definitive image, proposing instead an open-ended, processual form of visual and bodily existence.

Process

Iterations on Agency emerged from a desire to question where agency resides in image-making today. I was moved by the growing presence of algorithmic systems that observe, classify, and transform images, and by how these processes mirror broader social mechanisms that attempt to define, stabilize, and normalize bodies and identities. My starting urge was to place my own pictorial gesture—slow, manual, and embodied—into friction with a machinic gaze that operates through iteration, pattern recognition, and transformation. Rather than treating artificial intelligence as a neutral tool, I was interested in engaging it as an active participant capable of altering intention, authorship, and meaning. The work is also driven by a personal and political need to explore dissident and queer bodies as unstable territories. I followed the question of how images might resist becoming fixed representations, and how identity can remain open, mutable, and unresolved even when subjected to systems designed to categorize. This tension—between control and becoming, authorship and delegation—ultimately motivated the creation of the work.

Tools

Each recorded video frame was then analyzed and reinterpreted using image-to-image AI models, which converted the painted gestures into new visual iterations. Rather than processing the video as a whole, the work treats the moving image as a sequence of individual frames, allowing the algorithm to continuously reinterpret and transform the composition over time. A key aspect of the process was the feedback loop between painting and machine interpretation. While painting, I could see in real time how the AI was reading the image. Based on its interpretations, I adjusted my brushwork, altered compositional elements, or modified the textual prompts guiding the model in order to redirect its reading toward different visual or bodily associations. In the final stage, the original watercolor video and the AI-generated interpretation were composited with transparency, allowing both layers to coexist and interfere with one another. This superposition emphasizes the tension and collaboration between human gesture and algorithmic vision, making visible a shared and unstable process of image formation.

Image credit:
Essay by
The AI Art Magazine, Number 3
Published in:
The AI Art Magazine, Number 3,
April 2026
WHY?
The magazine reveals what happens when humans and machines get creative together. We’re throwing the doors wide open and believe it's going to be a big party. Come in and let’s dance.
Media coverage
WHO?
Christoph, Franziska, Ingo, Jason, Jan, Jens, Katrin, Merzmensch, Mike, Simone, Tito
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