Assembled from Collage Cutouts, Not Diffusion Pixels
Today, most people associate “AI art” with generative diffusion models (like Midjourney or DALL-E) that hallucinate smooth, synthetic pixel grids in seconds. The 3,190+ works in Vis Plastica come from an earlier, quieter, and fundamentally different moment in computational art history.
Since November 2021, a tiny headless NVIDIA Jetson Nano has hummed continuously 24/7 in the corner of the studio running autonomous collage optimization. Instead of generating pixels out of thin air, the system starts with a blank canvas and a finite palette of distinct biological and physical cutouts — animal morphology, insect wings, feathers, shells, and botanical textures.
Drawing on Cubist collage and Dadaist chance (such as Hans Arp’s compositions), it uses Arnheim 3 (Google DeepMind’s CLIP-CLOP algorithm) to iteratively place, scale, rotate, recolor, and layer hundreds of individual patches — adjusting 2D transformations over thousands of optimization steps until a neural vision model (OpenAI CLIP) recognizes the target subject.