My practice emerges from the intersection of software engineering and artistic research. I explore technological systems not as innovative tools but as powerful infrastructures that shape human identity, behavior, and our public space. By translating this critical inquiry into installations and code-based works, I reveal how technology restructures our human experience and reconstructs our ethical perception.

Through immersive environments, web-based projects, and AI-driven experiments, I analyze the mechanisms of automation, surveillance, and data extraction that increasingly govern our everyday lives. My process is rooted in research: I begin by tracing the infrastructures of a given issue, then translate them into visual forms that can be physically and emotionally experienced. Whether evoking the sensation of being monitored or exposing the hidden sides of algorithmic outputs, I want audiences to both see these invisible systems and feel their impact directly on their bodies.

At the heart of my practice lies a tension: the allure of technological spectacle and the risks concealed within its accessible, easy-to-use design. My installations create spaces where audiences are encouraged to examine the technologies that shape their daily lives and to question the dominant narratives of progress and efficiency that define our digital age.

My background in tech exposed me to the hidden sides of AI and algorithmic systems, their opacity, their biases, and their capacity to reduce people to data points. This experience deeply shaped my perspective and is the fuel that drives my artistic research in revealing what lies beneath the seamless surface. Ethics, therefore, play a central role in how I engage with AI. I work with small-scale, locally run models, informed by the principles of permacomputing, a sustainable approach to digital culture that emphasizes solidarity and ecological care. This reflects a conscious refusal to rely on corporate infrastructures built on surveillance, exploitation, and environmental waste, and instead allows me to experiment with what responsible artistic use of AI can look like: reusing existing hardware, minimizing energy use, and making processes and limitations transparent.

Through immersive installations and web-based projects, I challenge societal norms and inspire critical reflection, blending critical theory and ethics to question the realities we take for granted. My art draws on both the allure and the peril of technology, how it reshapes the representation of everything from economic crises to surveillance and public space. At the core, my work is about pushing for a more inclusive, interactive, and hopeful way of understanding technology. I am especially interested in how irony can serve as a tool for both critique and care, allowing contradictory elements to coexist and drive change. In everything I create, there is an invitation to participate, reflect, and imagine new possibilities for a future where technology can be reclaimed for meaningful social transformation.

entries

Creative Liberation or Digital Colonization? A Critical Study of AI-Generated ArtDavid Lazăr

publication

(...) Although presented as innovative, AI-generated aesthetics tend to reinforce dominant cultural values. According to Wesley Goatley, machine vision is inherently ideological: it is built to sort, identify, and render visible in ways that align with systems of control and classification. When art is generated through these systems, it risks adopting their logics—privileging legibility, emotional neutrality, and formal clarity over ambiguity, dissent, or cultural specificity. In institutional contexts, AI art that conforms to these aesthetics is more likely to be exhibited, as it fits within spectacle-driven environments that prioritise novelty without critique.

The aesthetics most celebrated in AI art are those that align with existing institutional tastes—slick, immersive, and apolitical. Rather than subverting artistic canons, AI art often sustains them, benefiting those already positioned within systems of access, technical expertise, and cultural capital...(more)

artworkfieldwareIan Margo 2025, digital video, color, sound 16:9 4K, 11:00min...(more)