Guardians at the Gate

About Steve Glashier

Artistic intelligence: Steve Glashier is familiar with visualizing the world - both as a photographer and as a filmmaker. In his avant-garde, exclusively AI-generated works, the entire creative process is based on the artist's imagination… Read more

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BACKGROUND INFORMATION

Artistic intelligence: Steve Glashier is familiar with visualizing the world - both as a photographer and as a filmmaker. In his avant-garde, exclusively AI-generated works, the entire creative process is based on the artist's imagination and creativity.
Instead of merely depicting the world, he builds his own - and thus helps building a new, much-discussed artform: promtography.
Instead of capturing things, in promtography it is all about allowing full bent: virtual image creation knows no boundaries, but instead it confronts the artist with the challenge of going beyond the limits of the imagination and channeling or taming it.
The equation that photography is merely a mirror of our living world has become obsolete at the latest since contemporary art. Meaningful art does not imitate: it creates. Notable photographs do not only depict the actual state, but they change it.
In this sense, Steve Glashier uses digital image production in the form of text-based, generative artificial intelligence as a design tool – to elevate his conceptual thinking to a new level that leads to artworks that do not only portray reality but expand it.
It offers him new forms of expression for his passion for storytelling, enhancing the space for his ideas to unfold ad infinitum. The more precise the commands to the AI, the more artistic the results.
Throughout his career, the artist has always aimed for divine compositions: His works are present all over the world, one encounters them on album covers of well-known bands up to the covers of renowned international magazines. As a filmmaker, he has produced nearly 350 music videos in the last ten years alone, including artists such as Fatboy Slim and Juliette Lewis. Following his numerous international commissions, he now takes the viewer into even more distant parallel worlds.
In them, artificiality is not only a means to fulfill artistical desires, but also the theme of the piece: it is not concealed but celebrated. His works move between artificial intelligence and artificial aesthetics. The artificial element flows right down to the tips of the characters’ fluorescent hairstyles that do not aim to look natural, rather supernatural, and outstanding.
Reality is not recreated at any point, but reassembled, which is evident right down to the color scheme of mixed and neon colors.
An intelligent artificiality based on artificial intelligence.
Glashier's group of works, Midnite on Mars, is a brilliant, intoxicating feast for the eyes that allows the imagination to blossom. It is an appreciation of a design medium that beams the viewer beyond the limits of the familiar.