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Southworth

United States

Artist Statement

Travis LeRoy Southworth’s most recent work Omnia Ludens—Latin for “Everything in Play”—reflects upon authenticity and artifice within contemporary image creation and artificial intelligence. Historically, printer test images were crafted as precise tools to calibrate mechanical reproduction, from Kodak’s mid-20th-century “Shirley” cards to today’s digitally composited calibration mosaics. These standardized patterns of color and form, originally designed to perfect photographic and digital printing accuracy, reveal deeper implications about cultural biases, standardization, and control in visual reproduction. In Omnia Ludens, Travis LeRoy Southworth repurposes these calibration outputs as input prompts for AI diffusion models, using their carefully structured arrangements to explore neural-network-generated unpredictability and creative reinterpretation. Here, printer test images serve as metaphors for both mechanical precision and the fragmented, chaotic potentials of AI-driven art. 

Southworth’s appropriation of these ubiquitous, often overlooked calibration tools underscores a contemporary reality where images continually shift between authenticity and fabrication, inviting reflection on the fluid boundaries of originality in an era defined by infinite digital mutability. This approach aligns with a broader tradition of appropriation art, particularly within photography, where artists have long borrowed, recontextualized, and transformed existing imagery to challenge notions of authorship, originality, and cultural meaning. The vast datasets that underpin contemporary AI image generation—scraped from publicly available artworks—are themselves immense archives of appropriated visual culture. Omnia Ludens engages directly with this legacy, highlighting how the digital realm is inherently a space of reassembly and reinterpretation, prompting viewers to reconsider the definition and significance of creativity when every image becomes a potential source of infinite variation.

Published in >
The AI Art Magazine, Number 2
Beauty in the Breakdown, AI generation, 2024
Beauty in the Breakdown, AI generation, 2024.
Southworth, Beauty in the Breakdown, AI generation, 2024

Description

Beauty in the Breakdown is a still work from my Omnia Ludens series, which investigates the relationship between authenticity and artifice in the age of AI-generated imagery. The work draws from printer test images—those standardized mosaics of color, gradients, and generic photos originally designed to calibrate mechanical reproduction. These visual tools, once symbols of clarity and control, are reinterpreted through diffusion-based AI models to produce unpredictable, often fractured outcomes. In this case, the result is a moment of collapse—where the logic of calibration begins to break down, and something new, even sublime, emerges in its place. The title Beauty in the Breakdown suggests that failure itself can become a generative act. I’m interested in what happens when the systems we rely on for visual accuracy begin to malfunction or behave in ways we don’t fully control. Rather than correcting or discarding these moments, I frame them as sites of potential—where the aesthetics of imperfection reveal deeper truths about the systems behind the images. This composition captures a visual echo of disassembly, glitch, and reconfiguration, yet it retains a haunting harmony. In a time when images are infinitely reproducible and endlessly mutable, this work invites viewers to find meaning not in the perfected surface, but in the layers beneath—where instability, ambiguity, and even error are part of the creative language.

Process

This work emerged from my ongoing exploration of how standardized visual systems—especially those designed for mechanical precision—can be unraveled and reinterpreted through contemporary tools like AI. I’ve long been drawn to printer test images for their dual function: they are both functional and strangely aesthetic, created to calibrate accuracy yet composed of generic, culturally loaded fragments. These images are meant to be invisible in the final product, but I wanted to bring them forward—treat them not as tools but as raw material. What moved me was the moment these systems began to collapse under the weight of generative processes. The urge wasn’t to control or perfect, but to witness what happened when control broke down—when machines designed to replicate clarity started producing something unpredictable, emotional, and even poetic. I was following a question that’s threaded through much of my work: What does authenticity mean in a system of endless variation? And more personally: Can failure—or breakdown—reveal a more honest kind of beauty? Beauty in the Breakdown is one of those moments where something cracked open, and what leaked through felt strangely alive.

Tools

The process for creating Beauty in the Breakdown began with sourcing and curating historical printer test images—those standardized color fields, gradients, and photographic fragments originally designed to calibrate reproduction. I then use the Midjourney AI model to interpret and recompose these calibration patterns into new visual forms. Midjourney allows for broad, sometimes unexpected transformations, which I welcome as part of the creative disruption of the original system. To refine the output and align it more closely with the emotional or conceptual tone I’m after, I turn to Stable Diffusion. This model gives me more control in guiding composition and texture, allowing subtle shifts in how the image reads or feels. From there, I bring the AI-generated material into Photoshop, where I build the final composition—layering, adjusting, and sometimes intentionally breaking apart the image to emphasize its fragmented origins. This multi-step process mirrors the theme of the work itself: a layering of systems, each with its own logic, repurposed toward a kind of visual unraveling. The final image is both constructed and broken—an artifact of precision pushed into instability.

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