Jonas Fischer

Machines dream too, and I translate their dreams. My process starts by training small generative models on my own archive of drawings, then feeding the outputs back into new sketches by hand, so the work moves constantly between machine and hand rather than settling into either. I am interested in the moments where the AI misunderstands a form, a hand with too many fingers, a face folding into itself, because those errors feel closer to how dreams actually behave than any clean, correct image would. Redrawing those glitches by hand is where the piece becomes mine again. I do not see AI as a shortcut or a threat to authorship, but as a strange, occasionally brilliant collaborator with no sense of anatomy or gravity. The final images sit somewhere between illustration, glitch art and portraiture, and I want viewers to feel unsure which parts were made by which mind.