The Frontier AI sculpture series challenges the definition of creativity. I trained my computer to become a sculptor by feeding it a collection of abstract sculptures and teaching the computer to develop an ability to discern this type of art. Tweaking the parameters of the training sessions endowed the AI sculptor with an aesthetic of its own. 

 

I chose to train my model on abstract sculpture to explicitly bypass the problem of gender representation in figurative sculpture. The field collectively suffers from a male gaze that reinforces misogyny and hetero-patriarchal mores and normalizes gendered body imagery. Training my computer on historical figurative sculptures would have sustained and preserved this history. Instead, I taught my computer how to sculpt abstract forms free from the moral baggage of human art history.

 

After hundreds of hours training my computer on abstract sculpture, I asked my computer to dream up its own work in pursuit of genuine machine creativity. These computer-generated sculptures challenge the boundaries of a form of creativity we once believed to be uniquely human. My computer’s ability to understand beauty and design to produce original sculpture ushers us into a new realm of creativity that is not bound by flesh. This singular body of work reflects both the creativity of my model and the learning process I designed to teach my computer to sculpt.

 

'Creature'

Creature challenges the definition of figurative sculpture by claiming to be a part of it. Creature’s genderless and species-less form rejects the hetero-patriarchal mores and normalized gendered body imagery of figurative sculpture in favour of liberation.

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'Precognition'

Precognition started as a computer’s dream, a digital image generated by a machine learning model I trained to become a sculptor. Precognition violates the principle of causality - it is an artefact that was seen before it existed, yet exists because it was seen.