CASH SLAVE II
AI CINEMA
I use the term AI Cinema to describe my approach to moving image in an age where machines can see, interpret, and participate in image-making.
I train AI to "see" ink and use these initial outputs in my AI film-making.
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Each piece is directed, composed, and resolved through cinematic authorship, using custom-trained ink systems that I have developed through years of analogue practice, ink, and machine collaboration. AI functions as a collaborator within a controlled framework, not as an autonomous author.
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AI Cinema allows me to work at the scale and tempo of cinema while retaining the hand, the edit, and the narrative decision. It is a way of extending authorship rather than dissolving it. I also write all of my own lyrics for the AI tracks to go with each piece of AI Cinema.
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This practice has moved beyond experimental contexts and has been presented within institutional and auction settings, including the exhibition of an AI Cinema work at Sotheby’s New York. That moment marked a shift for me, not in how the work is made, but in how it is understood.
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AI Cinema is not generative content.
It is directed cinema, authored for a world in which machines are part of the image.
HEIST
2050. New York.
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The Drone Government controls everything digital.
So the city goes analogue. Matriarchal gangs have sprung up with their Drones of Suburbia drones as pets and guards. They steal one thing and one thing only - Old Masters Paintings. They wear the art as armour, as analogue tattoos, as symbols of revolution; all symbolic of an underground world of art theft.
Art is no longer framed.
It is worn.
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Raphael, Botticelli, Leonardo migrate from marble halls to skin, fabric, motion. Madonnas reappear in the Bronx. Annunciations are delivered by drone. The city becomes a distributed archive.
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This is not theft.
It is logistics.
Nothing is destroyed.
Nothing is missing.
Not stolen.
Transferred.
