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In 1963, Nam June Paik (1932 - 2006), a video artist associated with the Fluxus movement, provocatively placed a real cow's head at the entrance of one of her exhibitions. The head jolted visitors out of their perceptual lethargy, transporting them into an altered state of consciousness, and enabling them to engage with the exhibited works with a renewed vision. Inspired by Paiks gesture, I seek to imbue this project, Fluxus with a similar function by subjecting myself, the AI, and the viewer to a cathartic shock.

Typically, my images emerge as unfiltered outputs, rarely subject to modification or retouching, save for the occasional blemish or border adjustment. Respecting the vision and imprint of the algorithm is paramount to me; its errors often unveil unforeseen triumphs.



Fluxus by Inigo Bilbao

In 1963, Nam June Paik (1932 - 2006), a video artist associated with the Fluxus movement, provocatively placed a real cow"s head at the entrance of one of her exhibitions. The head jolted visitors out of their perceptual lethargy, transporting them into an altered state of consciousness, and enabling them to engage with the exhibited works with a renewed vision. Inspired by Paiks gesture, I seek to imbue this project, Fluxus with a similar function by subjecting myself, the AI, and the viewer to a cathartic shock.

Once upon a time, I harbored a recurring dream in which I tirelessly searched for a mysterious objecta book, a box, or some enigmatic devicethat promised boundless inspiration and artistic creativity. Today, thanks to AI, my dream has manifested into reality, although it possesses the potential to metamorphose into a nightmarish realm. I venture into "The Zone," an infinite expanse that unveils a distinct reality for each visitor. In my case, it materializes as a realm steeped in darkness and disquietude. I contemplate whether the imagery I encounter reflects the depths of my own troubled subconscious or resonates with a collective unconsciousness. Regardless, my affection for what I behold remains unwavering.

Within this project, my aim is to subject the algorithm to a form of shock therapy. Through the utilization of extensive prompts comprising nonsensical words and phrases, I compel the AI to freely navigate uncharted territories, continually surprising me with its responses.

New Families #03

New Families #04

In 1963, Nam June Paik (1932 - 2006), a video artist associated with the Fluxus movement, provocatively placed a real cow's head at the entrance of one of her exhibitions. The head jolted visitors out of their perceptual lethargy, transporting them into an altered state of consciousness, and enabling them to engage with the exhibited works with a renewed vision. Inspired by Paiks gesture, I seek to imbue this project, Fluxus with a similar function by subjecting myself, the AI, and the viewer to a cathartic shock.

Once upon a time, I harbored a recurring dream in which I tirelessly searched for a mysterious objecta book, a box, or some enigmatic devicethat promised boundless inspiration and artistic creativity. Today, thanks to AI, my dream has manifested into reality, although it possesses the potential to metamorphose into a nightmarish realm. I venture into "The Zone," an infinite expanse that unveils a distinct reality for each visitor. In my case, it materializes as a realm steeped in darkness and disquietude. I contemplate whether the imagery I encounter reflects the depths of my own troubled subconscious or resonates with a collective unconsciousness. Regardless, my affection for what I behold remains unwavering.

Within this project, my aim is to subject the algorithm to a form of shock therapy. Through the utilization of extensive prompts comprising nonsensical words and phrases, I compel the AI to freely navigate uncharted territories, continually surprising me with its responses.