Pot(W)Holes

Even in its nascent stages, AI arrived on the scene as a disruptive force. In the art world, an existential anxiety – sure to surpass that caused by the arrival of the camera and the urinal – is lurking. But those artists who have embraced AI are forging ahead, hurtling at speed down a pothole-laden B-road, navigating often bruising but thoroughly thrilling encounters with this (disruptive) force. What a ride!


 In 1993, Jeff Wall spent over a year orchestrating actors and combining 50 photographs for A Sudden Gust of Wind (After Hokusai). Today, AI generates similar compositions in seconds. My series After Wall transforms these balanced human arrangements into fungal-like tableaux, exploring shifting concepts of authorship and artistic value in the AI era.

Ben Millar Cole, 2024/25, photography



Exploring the paradox of wholeness feels wrong, this work visualises the absence of absence—a doughnut that fails to form its hole. The piece manipulates light and shadow to erase depth, creating a seamless yet uneasy fullness.

Merve Kurtuluş, 2025, moving image (single-channel video looped)



To Pigeon-Fill the Sky is a photographic storybook about artificial intelligence, the creative process, and, of course, pigeons. The project exists both as a photobook—shot and edited in the summer of 2024—and as a website, expanded, distorted, and hacked together in 2025.

Duncan Petrie, 2024/25, photobook and website



Welcome to the Past is inspired by the Y2K bug and the anxiety of technological collapse. By reimagining low-resolution aesthetics in yarn, the project highlights the value of slowness, touch, and human presence in an age of AI and hyper-digital life.

Min Jung Tsai, 2025, wool and performance