Exactly.AI
I’ve got to share some of these images that I’ve been making with Exactly.AI (Durer.AI)
I was able to train a model on my paintings using about 15 images + a language component (describing the art that I’m uploading for training).
Here are some generations from the first model I trained. It’s kind of fun to play with the prompts as a parameter in regard to generations from my own models. This is something you can do with current LLMs (Large Language Models), where the GANs (Generative Adversarial Networks) or CANs (Creative Adversarial Networks) have used no prompting.
I’ll show you more of why this could be fun, but first, this first set of images was prompted using words that were very close to the words that I input for training, making them closer to the actual style of what they were trained on.
This next set is what happens with the subject (above is abstract botanical), when the prompt changes from the original input.
Here, I switched out parts to add different subjects like palm trees, crows, gnarled trees, birch trees, coral, cacti, landscapes, skulls, and cats.
Artists can use this kind of thing as a study to see how one style might transfer to a different subject, or to explore different variations on their work before they set to it with paint.
One subject that this model is really good for is leaves - since so much of the work it was trained on was botanical abstraction. I loved how these came out. The prompts included much of my original text that described the style, material, and colors, plus the description of leaves falling and blowing in the wind.
I trained another model with some newer paintings, and here is what they look like:
Again, I kept the prompts close to the original prompt used when training, and that keeps the results looking like mine.
For me, using AI art tools contributes to a process of reflection, contemplation, and integration.
I’d be curious to hear how other artists who paint intuitively have found the process of training an AI model on one’s own work.
Let me tell you about my new romance…
I joined the virtual studio at Playform, and am currently working on a project based on recent collected works. I was truly excited to discover this platform for creating AI art, and maybe have previously underestimated my love for all things digital?
In thinking about it, I realized that I can trace my digital art-making back to my video painter, and maybe back to those days in kindergarten when we had computer class, and got to make art on the Macs? I'm one of those millennials who didn't have to be tech-savvy - we didn't have the internet until around when I went to college. I didn't even know I was tech-savvy until somewhere in my 30's and I realized I was giving out a lot of help, and it was surprising to me that people didn't understand it. Now, I would definitely consider myself an early adopter. It makes sense that I am because I feel ridiculously excited about the potential I see. Partially because exploring that potential gives me such a sense of joy. I think this is deeply related to radical hope. It's not something that exists here yet, but I can feel its existence. I noted that same sense of joy was frequently present when editing photographs, playing with texture and color, layers, versions...
These explorations are my way of studying, understanding something more. It feels like a word I can't recall, a place I can't remember my way to - It is so strong, but it is also emptiness. The matter is in the relationship, in the space between. The Playform platform is a tool to help me explore this space!
How does it work? There are computers that the platform is connected to, and I uploaded around 50 of my works of art. The computers essentially then learn those images, the forms, lines, colors, etc., and create renderings of new work. Those renderings can be further developed, mixed, and used in ways I haven't even discovered all of yet.
Developing models on Playform
I'm (obviously) enthusiastic about this new digital tool, and how it truly fits into my work.
Case in point - The other day, I was just sitting in my studio, smiling to myself thinking about Arthur Batut and his ideas on virtuality.
"To reproduce with the help of photography a figure whose material reality does not exist anywhere, an unreal being whose constituent elements are scattered over a certain number of individuals and which can only be conceived virtually, is it not a dream?" - Arthur Batut (translated from French)
Ah, so thrilling! Did I mention Batut lived from 1846 to 1918? What would he even think of something like Playform? We can't know the answer, but I'd love to hear yours!
Being sensitive, holding space, and radical hope.
For a long time, I would be disappointed by people for their actions. I couldn’t understand it and I always felt let down by their behavior, as incongruous to how I saw them. Not all that many years ago, I realized that this is because how I saw them was incongruous with how they actually were - and that my mistake is inherent in how I use what I see. How to put it? I’m sensitive. Not just in the way that got me made fun of growing up, but also in the way that I have access to other pieces of information that aren’t exactly within the “normal” range of experience. Some of these things are categorized as psychic and/or empathic abilities, like being able to actually feel what someone else is feeling, in my body. And all of this information can be really confusing and overwhelming - especially when it’s all tangled up with trauma and unhealthy dynamics. But back to what I came to understand about my experience of other people, I realized that I am able to tune in to who a person really is, and I experience this knowledge at a feeling level.
There are ways of knowing that are intuitive, and the more we learn to use them, the more we come to understand about ourselves, our relationships, and our world. I think that artists are in tune with these abilities in different ways. Learning that I have a strength when it comes to claircognizance (knowing) and clairsentience (feeling), has been very helpful to me. Now, when I meet people, I know that the sense I get of them has more to do with their greatest potential than the level they actually operate on. I’m able to stay out of situations where I, because of my empathy, obliger tendency, and familial relationship templates, would be blindsided and taken advantage of. I know more of a difference between who I am, what I’m feeling, and who someone else is. That might sound crazy, but if you’re able to pick up on all kinds of information and don’t know how to/ can’t process it, it can be VERY confusing.
To parse out all of this info that’s coming in, I needed to put boundaries in place. I needed to have help and support creating a practice. It has to remain in place this way for me to just feel semi-ok. Lately, it’s hard. I want to hit pause on everything and just paint and process. Just staying grounded and mindful is much of my self-care.
The idea of radical hope has been getting me through. It’s been so important to me at the core, and the more I contemplate, the more I realize that radical hope is at the very foundation of who I am. It is tied to the reason that I sense people’s potential state, not just the current one. It’s the reason that I can know, absolutely, in my bones that something is righteous. (Not that I am right, but that a concept has a righteous feeling, I think about it, and my body just knows). It’s like having a sense of direction, knowing which way is North. I’m just orientated to a different set of parameters that is intuitively defined, and the concept of radical hope is a compass.
Radical hope is essentially having hope in situations that have absolutely no hope. Radical hope is wise hope, not toxic positivity. It is a hope that doesn’t deny the reality of our suffering, but chooses to see it all, and take action.
Writings by Joan Halifax, Rebecca Solnit, and Jonathan Lear explore this subject further. I find the concept of radical hope to be in alignment with Catholic social justice teachings, and present in the punk rock community. It’s active. It’s defiant. It’s also very present in post traumatic growth, where there is space, often uncomfortable space, between what happened, what is, and what will be. It is in this space that we may act. This is what my work is all about. Holding space for the truth and the capacity to transform it. Radical hope.
What a great realization to have.
I have known that the work I do is about holding space - for people in portraits, in installation work of shrines and imitation relics. There is repetition of information, movement, shifting of forms. These constants have existed, and I can only see them now that I look backwards through time and media and a plethora of projects. I’ve focused on the beauty of an individual, seeing what makes them true. I’ve created experiences - literal spaces to be in, and prompted an ignition of radical hope in the face of systemic injustice. I’ve made bowls filled with intention and set them on fire. I’ve sought community through my work, connection to others to create a shift. I’ve tried time and time and time again to capture visually, something that I know in my bones, that I feel and experience, that is completely invisible and goes back to the concept of space. It is wild how filled with radical hope it always was, and how I lacked the descriptive words to say it. I have them now.
My work is about radical hope, and I want to share that with you.
2019 reflections & 2020 visions
For the past couple years, I’ve been playing along with Gretchen Rubin, Liz Craft, and the Happier Crowd when it comes to my new year planning. I love this time of year, when our energy is drawn inward and the mood is set , in this part of the world, for slowing down and reflecting on our lives, and figuring out what we want moving forward.
I also pick a word or phrase for the year - inspiration, or a general reminder of what I want, when it comes to things that aren’t on that list. I really needed to get good at setting boundaries, so it’s helped me figure out if I should say yes or say no to something - does it further my overall vision for my life? I think it’s a really powerful tool, which is why my word for 2020 is “curate”.
Last year, it was “embrace being multi-passionate”, which was all about me just being who I am, and having a variety of interests, from painting, to photography, music, social justice, podcasting, reading, beading, and playing Magic: the Gathering. One gain I got from this focus, was noticing how these seemingly different things overlap, and seeing my own patterns elevated through my interests and how I pursue them. Social justice and art - DUH, social justice and Magic: The Gathering? ABSOLUTELY! Through this lens, I got to see my strengths and really think about how each of these things brings more happiness into my life. I also got comfortable with the idea that I’m allowed to do this. So this year, I’m further embracing that empowerment with the word “curate”. Part of saying yes to all that stuff I love was saying no to other things. Which is ok, and I’m allowed to do that. WHOA! Apparently this struck me as vital, because here’s the definition of my word for 2020:
curate
noun
Chiefly British. a member of the clergy employed to assist a rector or vicar.
any ecclesiastic entrusted with the cure of souls, as a parish priest.
verb (used with object), cu·rat·ed, cu·rat·ing.
to take charge of (a museum) or organize (an art exhibit):to curate a photography show.
to pull together, sift through, and select for presentation, as music or website content
Let’s check this out…
person entrusted with the cure of souls - healing, caring for the health of, ridding of detrimental factors
taking charge
organizing
sift through and select
POWERFUL STUFF. I am in charge of the care of my soul. I have the duty to rid it of detrimental factors. I say what’s welcome, what stays, and what goes. Holy boundaries, Batman. (I’m super proud of myself for getting to this point, BTW!)
In 2019, my list of 19 things included a bunch of health goals, finance goals, and creative community related goals. There are a few things I haven’t completed, like organizing everyone’s birthdays and current addresses, and getting the storage space cleaned out to make my encaustic studio, but I did a lot of things this past year that I’m happy about because of that list - like finally participating in book club! I did hard things, like paying off a huge loan, and going to all my appointments (2-3 a week, usually). I visited a Buddhist center, became a THRIVE member, and found YAH Women in Art right after too! I looked at a lot of art! I also played a lot of Magic Arena (even though I only made it through Platinum one season), worked on my oracle project, started a podcast with my friend Jess, launched this website, and ordered that perfume I’ve wanted for the last decade. I looked at campers, got new brown boots, and tried RASA, (adaptogenic coffee alternative) - I love it! I still don’t have a photography project I’m passionate about, but I've pitched a few ideas for grants, and that’s a step. I might scale back that project so I could do it in some form? Maybe? It’s going on the 2020 list!
I’m still thinking over a few things for 2020 (I’ve got a day!), but here’s the list so far:
get 20 rejections
put photos on my website
save down-payment
explore digital painting and illustration more deeply
do block printing
walk 20 in 2020
write consistently
make postcards
do a photography project
podcast with Jess
have a really good artist statement
make new business cards
explore my visual language
plan some day trips (Serpent Mound, Polymath Park…)
find tiny earrings
collaborative art projects with Alicia & with Meghan (It’s happening, it’s on my list!)
organize addresses and birthdays
acquire white tortoiseshell glasses
clean out storage - set up encaustic studio
find a good framing solution
I quite enjoy the whole dreaming up of possibilities, don’t you? What are your plans for 2020? I encourage you to make a list and play along! It gives us a unique opportunity to recognize and support one another. Jess and I will be discussing our lists on the podcast, and checking in throughout the year on our progress - we’re both Obligers, can you tell?
OK folks, I love you! Well wishes for 2020!
goals + growth mindset.
One of my goals has been to write a good artist statement. I’ve been trying to do so for like the past year, and haven’t been able to get it out. After trying to force it for months, I realized, I can’t just sit down and write this statement. I had to change the goal. So now instead of trying to master craft this statement, I’m just writing about my work, ideally every day, and seeing where that takes me.
Even though my current work ties back to things I was making in the early 2000’s, it’s not a clear path. I reminded myself that to come to my previous artist statement, I went through grad school, I defended that work with those words and came out on the other side. This is not the same. I’m doing something slower, more kind, and rewriting scripts that have been with me for at least a lifetime. This art work is about the work I’m doing. This process is internal and external, and incredibly difficult. My art process is part of it, inextricably, and I’m learning how to be my authentic self and share that.
Having a growth mindset helps me acknowledge that attaining the goal isn’t always the, umm, goal. I’m going to write more on that soon, as I’m really excited about reflecting on the year and planning for the new one - but for now, it’s back to my private art ponderings.
Alcohol Ink on Yupo Paper.
In the flow with alcohol ink on yupo paper.
Oh my gosh, I’ve been really enjoying making work with alcohol ink on yupo paper. I’d only previously used alcohol ink with encaustic medium. I liked it then, and have missed making encaustics, which is one reason why I wanted to try working with these otherwise. My encaustic studio has been out of commission since we moved here - just before Christmas, and this will be the 3rd Christmas here - clearly, I need to figure something out to get my encaustic studio space going again. (Rental - carpet- and I get wax EVERYWHERE)
In the meantime, I’ve heard buzz about yupo paper. I was all, what now? But it’s this synthetic “paper” that works really well for alcohol ink. It doesn’t absorb the liquid, and you can just keep working on it. I made the mistake of using my regular heat gun - too hot, don’t do it - a hair dryer is just fine. I see why everyone is all yupo, yupo!
Over the past few years, my work has developed to have these lines, that are usually informed by the shapes of the paint under them. I got really excited about the way the ink moves to the outer edge of the shape with alcohol ink, and the way you can put the alcohol on it to make it spread out more, carrying it further. There’s a lot of play with alcohol, and a lot less ink than you’d imagine. So, I’m getting these shapes that are part of my language, with a new medium. *SWOON*
LACHRYMA LINEAGE
I KNOW I’m this super-sensitive, emotional creature, but sometimes, waves of emotion still take me by surprise, which is what happened with a few of these pieces I’ve been working on. I hope that you’ll feel them too. <3 I’ll be releasing this series, along with the one featured above, to my email list first - they’re all affordably priced 5 x 7’s, so get thyself on that list below!
Do you like to try new things? If you’re an artist, have you ever worked with alcohol ink or yupo paper? Tell me about your adventures in the comments!
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