The literature on the artistic use of artificial intelligence currently appears fragmented, unsystematic, and left to the intuitions of the individual artists involved. Yet it is genuinely striking how many contributions, coming from the most diverse interpretive approaches, essentially agree on a few foundational concepts.
Chief among them is a lucid, deliberate reaction against the saturation of "perfect" digital images, typically the predictable output of text prompts. From this springs the pursuit of imperfection as a stylistic choice, as a recovery of purely conceptual intent, and as a critical, even polemical engagement with the technological medium.
Never has figurative art revealed its deeply conceptual nature as it does today: in what we call "Digital Deformalism," the algorithm's hallucinations and distortions are knowingly harnessed to create altered figures, charged with psychological depth and emotional intensity.
Imperfection emerges as an utterly human, introspective intention, as a natural biological principle, and as a territory to be claimed beyond the sharply drawn boundaries of the digital horizon.
Curiously, this work on digital imperfection demands a far more sophisticated understanding of image-generation systems than the instinctive gesture on canvas ever required. It thereby clears the ground of the bad-faith dilettantism that twentieth-century abstraction has bred, abetted by marketing mechanisms that were not always innocent.