Exhibition Review was written by Katia Maria Hassve for paragone.no
Origina text in Norwegian you can find here:
https://paragone.no/kunst/2024/3/13/hybrid-i-anmeldelse-av-kristina-austi-sin-utstilling
Soft Gallery
Artist: Kristina Austi
Title: Hybrid I
February 29th - April 7th, 2024
It's a lovely spring day in Oslo, and I'm looking forward to visiting the renowned gallery, SOFT. I tend to enter galleries with an open mind; rarely do I read about the artist or the artworks beforehand. I prefer to experience the art as it is, without prejudgments. Typically, I take in colors and motifs first before delving into the technical and sophisticated aspects of the works, but this time I know that the artist is showcasing tapestries created with the help of artificial intelligence (AI), and this sparks my interest. I've been fascinated by AI for quite some time now, and I'm enthusiastic to see how the artist has incorporated this new technology into their work.
In the confined space, surrounded by four impressive tapestries, the colors and fabric immediately awaken my curiosity. The first piece I encounter is "The Enchanted Castle," a large tapestry in soft, beautiful shades of red, blue, and an iridescent silver color. The motif consists of wolves, something resembling water, and a castle, creating an imaginative and mysterious scene. I let my thoughts wander as I try to interpret the story being expressed here. The soothing tones of the weaving give me a sense of tranquility, and I find myself drawn into the details. I become enthusiastic about the beautiful clouds floating at the top of the artwork, thinking they could almost have been painted from a distance.
Turning to the right, I encounter another impressive tapestry with the text "Swim here, swim here, little boy, I will give you white shirt and red ribbon!" This piece immediately captures my attention. I begin to wonder: Is this a forest? Is the forest burning, or is something else happening? My gaze shifts to the stones in the water, and I ask myself if someone could drown there. Could someone drown in the tapestry itself? I notice that this seems more intricate, and I start to think that some form of data must have been used in the creation process. It's almost like a woven snippet of a video game. The gallerist tells me that this piece is inspired by a Lithuanian children's tale. As usual, such tales have an undertone of the morbid or grotesque, meant to communicate important lessons to children. My intuition was correct. There's something happening in this motif, even though I don't quite understand what it is. Nonetheless, it gives me a sense that there's something to learn from this, which makes me curious about the story behind it.
To the right of the previous piece, on the third wall, I encounter a new work titled "And it grew both day and night. Till it bore an apple bright." The quote is taken from William Blake's poem "A Poison Tree". The piece looks like a forest showing the way, and I speculate if there's a hidden dragon lurking in the shadows. Despite some black-and-white elements, it's essentially dominated by blue. The artwork has an old-fashioned feel to it, and I feel a strong urge to explore this forest more closely. I also wonder if it's the same wolves from the first piece that still haven't escaped to the water.
I reflect on how these tapestries could have decorated the walls of an old castle, as they appear to have been created centuries ago. But that's not the case; they were made in 2024. They represent as much the present as the past and future. I can't take my eyes away from the works, which tell stories I could almost have dreamed of. I become curious about what lies behind the beautiful weaving technique. What story does Kristina want to tell? I feel like I'm traveling through time, both backward and forward. There's something mysterious about them, providing me with little information, even though I understand that the artist draws inspiration from sources that seem private in her life. The weaves are rich and carry the charm of a bygone era. They consist of layers upon layers, and it almost seems like they are a bit damaged, perhaps intentionally. At the same time, they give off an impression of timelessness, radiating rawness and almost glittering. You could expect to see these at the National Museum, or even in a castle. They are truly impressive and would fit perfectly into such a majestic setting.
Between each tapestry, I encounter some red blocks with peculiar engraved geometric patterns. Something within me recognizes this; it almost looks like inflated QR codes, perhaps a map, or a maze I want to solve. I like the way they are presented. They are securely attached to some kind of wooden structure that curves upward, and it seems like they are meant to be understood rather than being for sale. The blocks remind me of a puzzle I wish I could solve and appear as if they could have been pulled straight out of a science fiction movie, emphasizing what this exhibition is also about.
In a conversation with the gallery's managing director to better understand the exhibition, she explains that the tapestries are created using artificial intelligence (AI). Austi initiates the process by weaving sketches, which are then sent to a "weaving machine." This machine uses AI to produce the sketches using a weaving formula resembling that used in the 15th century. Austi views her work as a blend of technique, art, and technology, where AI not only serves as a tool but as a creative partner that pushes the boundaries of what is possible. In doing so, she challenges traditional perceptions of the machine's role in art creation. By feeding algorithms with images of her own handmade weavings, Austi explores how they can mimic old woven tapestries from the 15th century. This results in a fusion or hybrid of technique, art, and technology, demonstrating how the role of machines in art creation is evolving in the face of modern technology. The red 3D-printed structures we see between the tapestries are blown-up sections of the weaving patterns, providing insight into the complexity of how the threads work together. Additionally, they may also symbolize models for future cities or advanced computer chips, showcasing how everything can ultimately be reduced to advanced mathematics. In digital weaving art, these structures represent either drawings or instructions on how the threads should be woven together.
It's understandable to be tempted by the thought that the works were handmade in the 15th century. However, it's important to realize that the timing of their creation doesn't affect the quality of the artworks. The colorful and captivating motifs draw me into the stories they tell, and I experience them as both decorative and majestic, while also carrying a modern and raw quality. However, the timing of production emphasizes how today's technology can copy, translate, and add information to create such works. These pieces raise questions about artificial intelligence as a tool and creative partner, challenging traditional ideas of authenticity and creativity. While the concept and process behind a work remain important, regardless of the tool used, the use of artificial intelligence is something new that deserves our attention.
It's fascinating to reflect on this topic today, as the use of artificial intelligence is relatively new and challenges traditional perceptions of craftsmanship. In my view, artificial intelligence provides a creative freedom that was previously inaccessible to many. It enables the realization of ideas and desired outcomes faster and more efficiently, thanks to algorithms and technology that facilitate techniques that could have taken several years to learn in the past. Kristina Austi's weavings are an example of this, and they offer us a quality and result that may not have been achievable without artificial intelligence in 2024. In this way, we can say that we are traveling through time, from the era when it took several months to weave beautiful tapestries, to today, where we can create such works that meet us with admiring eyes.
The exhibition titled "Hybrid I" explores the dynamic interaction between machines and humans in the creation of art. Austi emphasizes the tactile and draws us into the narratives while exploring the many possibilities art can encompass. At the same time, she opens up reflections and discussions about technology, artificial intelligence (AI), and the future of art. Austi has created a unique artistic universe by combining elements from Lithuanian folk tales and poems by William Blake, thereby crafting original works that capture the imagination. She not only explores artificial intelligence as a tool but sees it as a creative partner in the process. This fusion of traditional techniques and new technology forms the core of Austi's artistic exploration. Getting to know Kristina Austi's artistry has personally inspired me and led to new reflections on weaving art and the use of digital tools in today's artistic practice. And as something encouraging, they give me something to look forward to in contemporary art and the field of weaving art.
Written by Katia Hassve.
