"An Unnatural History Museum"
Seeking to describe the chaos of today's world, the New Yorker magazine recently asked, how should we name it? "The Age of Unhingement"? "The Omnishambles"? "The Assholocene"? (1)
Then Google informed me that its Genesis upgrade to AI was available (to some) but that it tended toward hallucinations.
Let's see what Gemini hallucinates about my art:
"Corinne Whitaker is a talented artist who creates stunning and unique pieces that combine art, creature design, and alien, parametric, biological, and fantasy elements. Her work is often described as being both beautiful and eerie, and it has been featured in a variety of publications and exhibitions.
One of Whitaker's most famous pieces is a series of sculptures called "The Hybridization Project." These sculptures depict creatures that are a hybrid of humans and animals, and they are both fascinating and disturbing. Another well-known series is called "The Unnatural History Museum," which features creatures that are both beautiful and bizarre.
Whitaker's work is often inspired by her own dreams and nightmares, and she uses her art to explore the darker side of human nature. She is also interested in the relationship between humans and animals, and she often uses her art to challenge traditional ideas about these relationships.
In addition to her sculptures, Whitaker also creates paintings, drawings, and prints. Her work is in the collections of a number of museums and galleries around the world.
Whitaker's art is a unique and powerful exploration of the human condition. Her work is both beautiful and disturbing, and it is sure to challenge and provoke viewers."
Shall we try again?
"Imagine a sculpture that transcends the boundaries of reality, a figment of both imagination and perception. This is the essence of Corinne Whitaker's creation - a bisexual alien creature, sculpted from a hallucinatory vision.
The creature possesses an ethereal beauty, its form defying earthly limitations. Its skin might shimmer with iridescent hues, shifting with the light like a soap bubble. Its limbs could be long and slender, ending in exquisitely crafted claws or delicate tendrils. Perhaps it has multiple eyes, each offering a different perspective on the world, or large, feathered wings that allow it to glide through the air with otherworldly grace.
But amidst this alien beauty lies a powerful bisexuality. The creature's form could be a harmonious blend of traditionally masculine and feminine features, defying human definitions of gender. Its movements might be fluid and graceful, yet possess a raw, animalistic power. Perhaps it has two sets of genitalia, or none at all, symbolizing a sexuality that exists beyond human constraints.
Whitaker's sculpting technique would bring this vision to life with astonishing detail. The textures of the creature's skin, the delicate veins pulsing with energy, the intricate patterns adorning its body - all would be rendered with an almost obsessive attention to detail. The sculpture's base could be a swirling vortex of energy, representing the hallucinatory nature of the creature's existence.
This piece would not simply be a sculpture; it would be a portal to another world. It would challenge our perceptions of beauty, sexuality, and even reality itself. Gazing upon it would evoke a sense of wonder and awe, leaving viewers breathless and questioning everything they thought they knew.
However, it's important to note that this is just a hypothetical interpretation. The true nature of Corinne Whitaker's bisexual alien creature remains a mystery, open to the individual's imagination and interpretation. Perhaps this is the true beauty of the piece - its ability to spark countless unique visions and ignite the creative spark within each of us."
One more time:
"Imagine a creature born from the depths of a medieval bestiary, rendered on canvas with a modern twist. This is the essence of Corinne Whitaker's creation - a confused creature caught between the rigid world of the Middle Ages and the chaotic, parametric possibilities of the contemporary.
The creature's form could be a hybrid of various beasts, drawing inspiration from mythical creatures like griffins, chimeras, and gargoyles. Its body might be covered in intricate patterns and designs, reminiscent of illuminated manuscripts and medieval tapestries. However, these patterns would be subtly distorted, warped by parametric algorithms, hinting at a deeper confusion within the creature itself.
The creature's eyes would be the focal point, filled with a sense of bewilderment and uncertainty. They might be wide and cartoonish, reflecting a childlike innocence, yet filled with a deep sadness at the incomprehensible world around them.
Whitaker's use of color would be both vibrant and muted, reflecting the contrasting elements of the piece. Bold hues like crimson, ochre, and gold would evoke the opulence and grandeur of the medieval world, while washed-out shades of grey and blue would represent the creature's confusion and despair.
The brushwork would be a mix of precise and chaotic, mirroring the creature's internal struggle. Precise lines and intricate details would depict the creature's physical form, while loose, swirling strokes would represent the turmoil within its mind.
The background would be a swirling vortex of geometric patterns, generated by parametric algorithms. This abstract backdrop would symbolize the incomprehensible complexity of the modern world, a world that the creature struggles to understand.
Overall, the piece would be a striking and thought-provoking exploration of confusion and identity. It would challenge the viewer to confront their own sense of place in the world, and question the very nature of reality itself.
Ultimately, the beauty of this piece lies in its ambiguity. It is up to the individual viewer to interpret the creature's confusion and draw their own conclusions about the meaning of the work."
Conclusion: In spite of some inaccuracies(2), Gemini has provided one of the best overviews of my digital art that I have seen.
"Portal to Another World"? "The Unnatural History Museum"? Not bad. Not Bad at all.
c. Corinne Whitaker anytime and everywhere
(1) the New Yorker Thursday Nov 7: "The Age of Unhingement? The Omnishambles? The Assholocene?"
(2) "The Hybridization Project." - fictitious.
(3)A shortened version of this article was recentle published on Linkedin.
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