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Drawing, Graphite on Paper
Size: 8.3 W x 11.7 H x 0.1 D in
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Even at the Mauritshuis This graphite pencil drawing ‘A Non AI-Driven Neo Deco Celebrity Nude – 09-03-23’ is something different or is it? Inspired by a smashing reference picture I was although I don’t know its origins. There are so many art deco pictures out there but I thank its creator anyway. So, nothing new compared to the last one already present in the series. I felt compelled to make a statement on artificial intelligence though. It seems it has creeped into the art world slowly but surely. Here and there I hear disturbing reports about AI-generated art works exposed as such in art competitions. The Mauritshuis lended the ‘Girl with the Pearl Earring’ to the Rijksmuseum for the big Vermeer exhibition. Lo and behold, in the empty slot there is one. Is handcrafted art crumbling into pieces? Just Another Algoritm So I tried out a couple of AI generating websites to see what the fuss is all about. On my mind was a cubist painting of a woman, cat and a window. Of course in the style of Corné Akkers but I also had it generate it for Juan Gris and Fernand Léger. Surprisingly they all looked the same. After some ponding over it hit me. What people consider to be intelligent, how artificial it may be, is yet another algoritm. In fact, I don’t think AI doesn’t exist as such. My works and those of other artists are just part of it. We all will be part of the stuff AI picks up in order to generate something that looks original. AI will be the finger of the wise to many a viewer, whereas the finger secretly points to the moon. That’s where artists dwell. Graphite pencil (Faber Castell Pitt Graphite Matt pencil 14B) drawing Talens Bristol paper (21 x 29.7 x 0.1 cm) Artist: Corné Akkers
Graphite on Paper
One-of-a-kind Artwork
8.3 W x 11.7 H x 0.1 D in
Not Framed
No
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1969, born in Nijmegen. My work can be seen in many countries all over the world. Corné employs a variety of styles that all have one thing in common: the ever search for the light on phenomena and all the shadows and light planes they block in. His favorites in doing so are oil paint, dry pastel and graphite pencil. He states that it’s not the form or the theme that counts but the way planes of certain tonal quality vary and block in the lights. Colours are relatively unimportant and can take on whatever scheme. It’s the tonal quality that is ever present in his work, creating the illusion of depth and mass on a flat 2d-plane. Corné combines figurative work with the search for abstraction because neither in extremo can provide the desired art statement the public expects from an artist. Besides all that, exaggeration and deviation is the standard and results in a typical use of a strong colour scheme and a hugh tonal bandwith, in order to create art that, when the canvas or paper would be torn into pieces, in essence still would be recognizable.
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