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Writer Ted Chiang once described ChatGPT's output as a “blurry JPEG of the web”, a poor image from a semantic standpoint. The machine-learning-generated result carries an additional historical dimension: statistics. AI-generated images are statistical representations rather than existing objects; they shift the focus from photographic indexicality to stochastic probability. They no longer refer to factuality, but to statistical plausibility.

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My project examines the colonial and Western heritage embedded in programmes like Stable Diffusion and its relationship to the symbolic representation of nature. This visual language inherits the classification systems of the first botanical illustrations produced by natural history museums. Synthetic images do not create realities; they amplify visual codes that have historically ordered and dominated the natural world under a Eurocentric gaze.

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I seek to subvert these taxonomies through a practice that reintroduces situated and embodied perspectives, imagining a dialogue between ancestral cosmologies and post-digital aesthetics. The work takes shape using metal sculptures that function as physical supports for the image as an archive. These pieces give weight and opacity back to immaterial images, forcing them to inhabit a body. The images are produced through morphing, a process that simulates a fluid metamorphosis between files.

\n\n

In this context, the moving image recovers the spatiality of primitive cinema, where the image was anchored to the material device. By revealing the medium as something tactile and present, its magical transparency is shattered. In contrast to AI, which functions as a linguistic artifice without material resistance, these sculptures foreground the medium, transforming statistics into an inescapable and opaque physical presence, revealing the power frameworks that underlie the contemporary technical image.

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Amanda Triano (Madrid, 1995) explores the transformation of nature and matter through sculpture, using concrete as a geological surface that reveals the otherness of the contemporary world. Her artistic practice examines the contradictory links between the human and the natural, weaving coded narratives that engage with science fiction, mythology, indigenous thought, and industrial evolution.

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Through sculpture, found objects, and installation, Triano evokes transmutational movements linked to territory and regeneration. Her work reflects on the collapse of time and obsolescence, conceiving the exhibition as an ecosystem of interdependencies where she animates the inert to generate objects that operate as conduits of memory.

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Holding a Master in Multimedia Art (Lisbon, 2024) and Double Degree in Fine Arts and Design (Madrid, 2020), Triano has exhibited at institutions such as the National Museum of Natural History and Science of Lisbon, the Belém Cultural Centre, and the Fluxus Museum (Greece).

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Project selected in the Plaza_Co call for proposals for the implementation of community experimentation processes. 

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