France – Paris
Having made the web the breeding ground for new narratives hybridizing the real and the virtual via artificial intelligence, Gregory Chatonsky seems to have opened the Pandora’s box of our post-modern world: delegating to the “artificial imagination” the composition of his dystopian visions, the artist seems to have sold his soul to randomness and indeterminacy.
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Drawing from the flood of images accumulated on the Web, the AI attempts to imitate reality but always deviates and distorts. A disruptive agent in our landscape, whose dislocation and ruin it anticipates, it only produces the monstrous. Thus, the atrophied gloves in the latest series by the master of ambiguity: gloves that cannot be put on, with two, four or six fingers, covering the most technical part of the human body like a second skin.
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Appearing “fetishized,” as in the surrealist stagings of Man Ray or Max Ernst (Chatonsky’s favorite artist), the gloved hand thus reveals the imperfection of all artifice but also the intrinsic duplicity of nature.
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Having noticed that in the images generated by artificial intelligence, the hands appeared abnormal, deformed, and that the process of imitating reality in AI came up against this double part of the body, Chatonsky wanted to highlight it by remembering, as the good philosopher that he is, the principle of chirality brought to light by Aristotle, Kant, and a few others, i.e., that living organisms are divided into two parts and that the cells of these two parts are never absolutely identical…
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Chatonsky Studio / Poush Manifesto
STÉPHANIE DULOUT