Art has always been a scope of imagination – a place where human thoughts are exposed to new forms. But in the 21st century, as artificial intelligence is rapidly embedded in cultural production, the question arises: Can AI-generated work still be considered art?
Very few artists challenge this range more than Wan Wolf. Its process begins with open source AI training on the dataset containing its past paintings. This repetitive system learns the visual grammar of its style, producing hundreds of artificial images. Of these, Wolf chooses an “outlet” – a piece that not only mirrors its aesthetic but also pushes it anywhere. Then, through the traditional technique of oil painting, it translates the image into physical form. The result is the suspended work between code and canvas, intuition and calculations, slow behavior and speed.
In his painting, Still point, Two -like red -haired personalities are settled in an unrealistic, stage -like interior. A rotation roams all the squares working like furniture. Second, sitting on top of his back, violent and remote, absorbing in a tablet and avoids sunshine glasses. The lower personality is physically grounded, aware of the open book in front of him. This compound requests dicotomies: passage vs., Technology vs. tradition, surface versus depth. It echoes the dynamic wolf’s own practice – using AI not to automatically, but also to destabilize both aesthetic and social.
The image avoids direct measures. It remembers the soft green and grade soft palette memory or dream. Repeat, echoes, or repetition of hair indicators on internal disputes. Every gesture and item – from beads to window light – feels symbolic, still against the sole interpretation. This is a special thing for Wolf, whose tasks often work as puzzles rather than statements.
Instead of denying human creativity, the use of Wolf’s AI shows its complexity. Its paintings are traditional in the traditional sense, neither inventions nor inventions – they are farming, which grows through dialogue between past and present, machine and hand. The result is not just an aesthetic product, but also meditation on authors, control, and invisible systems that form the subject.
If art, its core, is a process of investigation – in the self, in the society, in the form – so the work of Van Wolf is uncertain. It asks difficult questions. It does not offer any simple answers. And it demands, like all sustainable tasks, we look long.