My First Large-Format Lenticular Print
Nov 17, 2025
After years of collecting lenticular prints from gift shops and experimenting with small-scale works, I'm thrilled to share that I've completed my first large-format lenticular print with support from the Centre for British Photography's Realisation Grant.
Lenticular printing turned out to be the perfect visual metaphor for the typically invisible process of AI image generation. Lenticulars combine multiple images into a single surface, revealing them one by one as the viewer shifts perspective. AI image models work the same way, beginning with a field of random noise and refining it through successive stages until recognisable imagery emerges — a step-by-step journey from chaos to clarity.
These prints do something crucial: they lift the hood on AI's black box. Instead of prompt-in, image-out magic, you physically navigate the transformation with your own movement. Milliseconds of digital creation stretched out in a tangible optical trick.
From screen to sculpture, the work relocates into physical space—a reminder that AI is a starting point, not an endpoint.
You can read more about the project and see the work here
Artist Talk - The Wrong Biennale: The Doughnut W(H)ole
Nov 7, 2025
On Sunday I was invited to join a conversation about AI and photography at HAPAX Livingroom in London, as part of The Wrong Biennale. Hosted by curator Madeline Yale Preston, I spoke alongside photographer Duncan Petrie about our work navigating this disruptive force in image-making. We explored the threshold between derivative and original work, the potential of cultivating the glitch rather than perfecting the output, and how AI might be reframed as a form of ecological intelligence rather than artificial mimicry. The discussion touched on everything from model collapse and visual colonisation to the "long cut" of slow, process-heavy practice as resistance to AI slop. It was a chance to demystify the black box and think about play, authenticity and co-creation in an age of devalued images. You can find more information about The Wrong Biennale and the Donut (W)Hole pavilion here.
Beyond Authorship: Creativity as Exchange
September 14, 2025
In my last post, I wrote about the creative mental act—Turing’s idea that creativity might not reside within a single person or machine, rather in the interaction between them. I find it a helpful way to think about art-making with AI, while also gesturing toward a broader shift in perspective.
In her book AI Art, Joanna Zylinska frames this as part of a post-humanist approach to art-making. She suggests that instead of seeing humans as distinct from machines, we might recognise ourselves as ‘quintessentially technical beings’ (Zylinska, AI Art, p. 27) —shaped, extended and entangled with tools and systems from the very beginning. From cave paintings to code, art has always been a product of collaboration between our impulses and the technical tools we use.
What is creativity and where does it happen? If we stop viewing machines as mere tools or threats and instead see them as part of a wider creative ecology, we open up new ways of working, seeing and thinking. Not by surrendering authorship, but by decentring the human as the sole source of meaning. Artists like Charlie Engman, whose AI-inflected book Cursed sparked its own mini firestorm, have been brave in confronting the discomfort AI art provokes—especially when facing incurious critics more interested in guarding old definitions than asking better questions.
I often return to the metaphor of the Wood Wide Web—the vast fungal networks that weave through forest ecosystems, transferring nutrients, information and support between species. What’s compelling about these networks is not just their scale, but their structure: non-hierarchical, distributed, relational. No single node is in charge and yet the system thrives.
The Wood Wide Web’s interconnectedness and openness mirror how AI functions, sharing and building upon a vast pool of knowledge and creativity. This approach flattens traditional power structures in the art world. Through this lens, AI becomes a tool for a collective creative evolution, a recognition that we’re all part of a larger continuum of shared knowledge and creativity.
AI shares, recombines and reroutes information across distributed networks. In my series After Wall, I use fungal forms as a visual stand-in for this kind of decentralised intelligence. In Computers Can’t Jump, I treat the machine’s misfires and pattern-strangeness not as flaws, but as part of a conversation—an exchange across systems.
The goal isn’t to erase the human from the picture. It’s to draw a wider frame—and to see what becomes visible when we do.
Creativity in the Middle: On Turing, Bridle, and Working with Machines
July 19, 2025
What if creativity isn’t something we possess, but something that emerges between things?
That question has been on my mind since reading Ways of Being by James Bridle (2022) —a book that reframes intelligence as something not bound to human minds, rather it is distributed across relationships, environments and systems.
In one passage, Bridle revisits Alan Turing’s reflections on machine behaviour and surprise. Turing observed that machines frequently took him by surprise—not because they were intelligent, but because their behaviour prompted something in him: a moment of curiosity, an interpretive spark, a revelation, a leap, a cognitive jolt. He called this the ‘creative mental act’—not the moment of emergence, but of recognition, of interpretation. In other words, creativity doesn’t sit neatly inside a machine or inside a person. It exists between them.
The idea of creativity as relational has been vital to my own work with machines. Since 2017, I’ve been collaborating with a custom-built Recurrent Neural Network (RNN) I trained on curated datasets of text to generate surreal, machine-generated titles of artworks. From there, I conduct what I call ‘hot searches’. I deliberately adjust the temperature settings of my RNN to generate more surreal, nonsensical outputs with the aim of ‘cultivating the glitch’. But the glitch isn’t just noise. It’s a point of friction—where the system behaves in a way I didn’t expect and I have to stop and make sense of it.
By deliberately building systems that produce these off-moments, it’s possible to create conditions where creativity can flourish. The algorithm's misfire becomes an invitation and the act of finding meaning becomes the creative work itself. It's not the machine that's creative—it's the dialogue between human perception and machine output where new possibilities emerge. It’s about making space for creativity to emerge between us.
We spend so much time arguing over whether machines can be creative—as if creativity were a resource to be possessed, a spark that lives exclusively in the human brain. Instead we could be asking, how does creativity emerge? And what conditions allow it to thrive? This exploration feels both liberating and timely. In an age where technology is often framed as a threat or a replacement, there exists an invitation to co-create.
Centre for British Photography
March 3, 2025
Over the moon to have been awarded a 2025 Realisation Grant for After Wall. Huge thanks to the Centre for British Photography for their support—am feeling very grateful and excited for what’s to come. Time to make me some lenticulars...
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American Suburb X
Excited to share After Wall and accompanying essay, now live on ASX.
From Jeff Wall’s meticulously staged photographs to organic, AI-generated transformations—After Wall explores the evolving dynamics of creativity, authorship and collaboration in the current age of AI.
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European Photography 116
Fine Line Feline graces the cover 🐾, accompanied by a 6-page feature showcasing select images from One Horse Landed
Read more| Accompanying essay ‘Artificially Intelligent Image World’ by Andreas Müller-Pohle here
Out in print November 2024
Artist Talk - FOAM, The Photographers’ Gallery, Der Greif, Photoworks,
The Elephant in the Room: Provocations on Artificial Intelligence
2024
Very excited to have given a talk at Paris Photo in a symposium on AI’s impact on photography and visual culture, hosted by FOAM, Der Greif, Photoworks, and The Photographers’ Gallery. Representing Der Greif, I joined an inspiring lineup of artists — Marcel Top (@marceltoptop), Stéphane Degoutin and Gwenola Wagon (@gwenola_wagon), and Hiền Hoàng (@hiennhoangg) — to explore the interplay of AI, authorship, and the evolving nature of creativity.
More info
Der Grief 17 - Torbjørn Rødland
Feature in Der Greif Issue 17 , One Day Soon, curated by Torbjørn Rødland. My piece Shepherdess Mess on Incline Bench Press joins the line-up.
Out in October 2024
More info
Cover: Iñigo Bilbao @ibl3d
Photobook Award
My book One Horse Landed has been chosen among an incredible lineup of artists for exhibition in the 2024 Belfast Photo Festival. A massive thank you to the judges <|º감º|>
More info | Buy Book
Group Exhibition at California Museum of Photography
Every Day We Have to Invent the Reality of This World
‘The past eighteen months have seen an explosion in public AI (artificial intelligence) image-generating software. Drawing from vast image repositories, systems such as DALL-E, Midjourney, and Stable Diffusion create a distinct kind of imagery that both echoes and distorts our familiar world. While they represent an emerging frontier of possibility, these AI-generated images also pose ethical quandaries, raising questions about plagiarism and copyright infringement; representation and bias; and the displacement of human artists. These systems, trained on our collective cultural imagery, also pose a compelling paradox: while potentially driving innovation, they may also risk trapping us in a perpetual feedback loop of our past, forever recycling our own image histories back to us.’
The work in this exhibition was made by sixteen artists using new artificial intelligence image-generating programs.
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Palmer Gallery - Group Exhibition
Post - Photography: The Uncanny Valley
Hoods Pausing, Tender Roles exhibited alongside works by Nouf Aljowaysir and Boris Eldagsen in a show exploring and challenging the evolving boundaries of photography in the age of artificial intelligence.
Summer 2024 | More info here
Group Exhibition
10.14 Gallery | Wallpaper*
‘From a Common Gesture is a dissection of process. Bringing together a group of artists who’s practices oscillate and vibrate, the aim is to examine how their individual tenacity allows them to take a new direction without losing their centre-point’
Wallpaper* article here
Photomonitor | Rip-Off
A psychosocial performance exploring identity, featuring a singular character - a puritanical, prize-fighting, gold-toothed employee gone gonzo.
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Wallpaper* magazine feature