LW: What excites you about GAN expertise? Why did you select to work with it and the place would you prefer to see its function in artwork, and AI extra usually, go sooner or later? 

RL: It’s the sensation of the unknown and the flexibility to faucet one’s creativeness into a visible outcome. Since utilizing AI as a instrument, I’ve felt that the world of prospects has opened up immensely, and as a inventive, this may be extraordinarily inspiring. I first used it with GLORYLAND, which is a really conventional documentary mission. Nonetheless, throughout the church, you at all times heard the fables from the bible that illustrated issues I may by no means {photograph} however have been very distinguished within the panorama of the characters I used to be documenting. I used GAN to create illustrations for these tales, and I’m happy with how that helped polish and add one other layer to the mission. There are numerous methods to make use of AI as a instrument, and I discover that very inspiring and thrilling but in addition a bit terrifying.

LW: You’ve referred to the mission as making a world that’s each acquainted and unusual, do you see parallels between this assertion and at the moment’s world extra usually? Notably with the embrace of AI and digital actuality? 

RL: Completely! We’ve got entered a stage in human existence the place our ambitions and skill to develop applied sciences have created a brand new world the place we will’t inform if people or machines create one thing. I don’t consider we exist in a bodily world separate from a digital one. Our present second as people is undeniably unusual, and I don’t know the place this street will lead. AI is shifting at lightning speeds, and that could be a scary thought. Neal Stephenson’s Snow Crash turns into much less of a fictional novel and extra of a prophetic warning increasingly more to me every single day.

LW: You’ve mentioned the mission attracts inspiration from modern Japanese aesthetics, what do you imply by that and the way is it mirrored within the artworks? 

RL: I’ve been gravitating towards this type of images, the place grain, wealthy black, and texture are all embraced to create an emotionally invigorating picture. In documentary work, the way in which a picture is shaped is rather more literal, and I’ve at all times thought-about composition probably the most important high quality. However within the modern panorama, emotion takes the lead, and I’ve been discovering this world very liberating. I’ve at all times regarded as much as the extent of thought, consideration to element, and function you see in nearly the whole lot from Japan. Images is definitely no exception to those attributes for them, both. One mission that has been my greatest inspiration for CHANSU is Daido Moriyama’s Bye Bye Images. This e-book broke all the foundations of images at the moment, embracing chaos and probability. It’s a real masterpiece.