Sangbin IM: AI/IM
RYAN LEE is pleased to announce AI/IM, an exhibition of new work by Sangbin IM. IM is known for his dynamic composite photographs, each meticulously composed from a combination of hundreds of IM鈥檚 own photographs and paintings. The resulting works are hyper-realistic utopian fantasies that reimagine well-known places for an increasingly technocratic future. IM鈥檚 photographic process has always relied on both the artist鈥檚 hand and digital tools, but it is the relationship between the artist and technology that is at the center of this new body of work.
As an artist constantly searching for ways to optimize his extremely labor-intensive process, IM uses Photoshop鈥檚 Photomerge function to synthesize hundreds of images into a single composition. For the artist, this task is painstaking, exhausting, and fraught with fear of failure. The computer, free of such emotional baggage, simply completes the task it is given. The work in this exhibition is the product of the partnership between artificial intelligence and human consciousness鈥攊n particular the subjective consciousness of the artist. The exhibition鈥檚 title, AI/ IM, reiterates this: 鈥淎I鈥� refers to machine learning and 鈥淚M鈥� is both the artist鈥檚 last name and an abbreviation for 鈥淚 am,鈥� the signifier of human subjectivity in the Cartesian sense.
In this series IM combines hundred of photographs of well-known cities and landmarks taken during his travels鈥擜thens, Manhattan, Notre Dame Cathedral, the Shitennoji Temple鈥攊nto panoramic scenes whose irregular edges push beyond the traditional rectangular picture plane. IM photographs his subjects from different angles, over the course of hours or sometimes days; his photographs are not random, but he begins without a vision of the finished product. Next he inputs the images into Photoshop and allows the program to auto-splice them together, creating various compositions that IM then tweaks. In this series IM has also retained the jagged, computer-generated borders of the images, which give literal shape to the works鈥� mechanicalorganic hybrid nature. IM considers the computer-generated image as a 鈥渄raft,鈥� and views his role as 鈥渁 director who actively improves them鈥� IM finds 鈥渆rrors or weaknesses that are included in the draft and artistically modify them in an attempt to articulate the entire scene in the best way possible.鈥�
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RYAN LEE is pleased to announce AI/IM, an exhibition of new work by Sangbin IM. IM is known for his dynamic composite photographs, each meticulously composed from a combination of hundreds of IM鈥檚 own photographs and paintings. The resulting works are hyper-realistic utopian fantasies that reimagine well-known places for an increasingly technocratic future. IM鈥檚 photographic process has always relied on both the artist鈥檚 hand and digital tools, but it is the relationship between the artist and technology that is at the center of this new body of work.
As an artist constantly searching for ways to optimize his extremely labor-intensive process, IM uses Photoshop鈥檚 Photomerge function to synthesize hundreds of images into a single composition. For the artist, this task is painstaking, exhausting, and fraught with fear of failure. The computer, free of such emotional baggage, simply completes the task it is given. The work in this exhibition is the product of the partnership between artificial intelligence and human consciousness鈥攊n particular the subjective consciousness of the artist. The exhibition鈥檚 title, AI/ IM, reiterates this: 鈥淎I鈥� refers to machine learning and 鈥淚M鈥� is both the artist鈥檚 last name and an abbreviation for 鈥淚 am,鈥� the signifier of human subjectivity in the Cartesian sense.
In this series IM combines hundred of photographs of well-known cities and landmarks taken during his travels鈥擜thens, Manhattan, Notre Dame Cathedral, the Shitennoji Temple鈥攊nto panoramic scenes whose irregular edges push beyond the traditional rectangular picture plane. IM photographs his subjects from different angles, over the course of hours or sometimes days; his photographs are not random, but he begins without a vision of the finished product. Next he inputs the images into Photoshop and allows the program to auto-splice them together, creating various compositions that IM then tweaks. In this series IM has also retained the jagged, computer-generated borders of the images, which give literal shape to the works鈥� mechanicalorganic hybrid nature. IM considers the computer-generated image as a 鈥渄raft,鈥� and views his role as 鈥渁 director who actively improves them鈥� IM finds 鈥渆rrors or weaknesses that are included in the draft and artistically modify them in an attempt to articulate the entire scene in the best way possible.鈥�
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