Current Exhibition
THIN LINE: LOVE/HATE RELATIONSHIP WITH AI
(3/8/24 - 5/5/24)
Curated by Patsy Coffey Kline
Featuring the works of Patsy Coffey Kline, Jason Toth, and Gina Washington.
You’ve probably heard the phrase, “There is a thin line between love and hate,” meaning that the emotions of love and hatred can be closely linked. Our world often balances on a knife-edge between these two themes without even noticing. Oddly enough, love and hate activate the same part of the brain. Generative AI represents a growing field that continues to evolve, offering exciting opportunities for innovation as well as serious challenges, thus causing division between those who love it and those who hate it.
The concept that love and hate could be similar emotions is explored through the perspectives of three artists who use AI as a tool to share their unique stories. I think Generative AI art serves a distinct purpose but it can never replace a human or an artist’s ability to create. Nevertheless, it’s fair to say that AI art is beautiful because beauty is in the eye of the beholder Generative AI has many applications, including; Image Generation: Creating realistic images, such as artworks or detailed product prototypes; Text Generation: Writing coherent and contextually relevant text for various purposes, like creative writing or dialogue systems; Music Composition: Composing new pieces of music in a specific style or genre; Data Augmentation: Generating additional training data to enhance the performance of machine learning models; Drug Discovery: Creating molecular structures that can be further explored for pharmaceutical development.
As an artist that uses AI I find it pretty awesome. AI offers a new frontier for artists who use tech in different modes, providing a playful and ominous means of expression. My focus for this exhibition is to spotlight the positive aspects of Generative AI in the arts. While
being sensitive to the ethical challenges AI presents.
In conclusion, the exploration of the thin line between love and hate serves as a thought-provoking backdrop to the evolving landscape of Generative AI. As our world teeters on the edge of these contrasting emotions, it becomes evident that the same neural
pathways activated by love and hate also contribute to the complex reactions towards AI.
Generative AI emerges as a dynamic force, offering both exciting possibilities for innovation and formidable challenges that give rise to a dichotomy of opinions. The division between enthusiasts and skeptics underscores the transformative power of this technology, prompting a deeper examination of its impact on our artistic expressions and societal perceptions.
Through the lens of three artists, the concept of love and hate as analogous emotions finds a unique narrative in the realm of AI. These creators leverage AI as a tool to share their distinct stories, illustrating the symbiotic relationship between human creativity and
technological advancement.
While acknowledging the distinct purpose of Generative AI art, there remains a recognition that it can never replace the innate abilities of a human artist. The exhibition, with its focus on the positive aspects of AI in the arts, sheds light on the playful and ominous ways in which this technology becomes a new frontier for creative expression. In essence, Generative AI opens up a novel form of communication, offering artists a means to express ideas in ways previously unexplored. As we navigate the gray areas presented by AI, it becomes clear that the convergence of technology and art brings forth a realm of endless possibilities, encouraging us to embrace the transformative
potential while remaining mindful of the ethical considerations that accompany this groundbreaking journey.
(3/8/24 - 5/5/24)
Curated by Patsy Coffey Kline
Featuring the works of Patsy Coffey Kline, Jason Toth, and Gina Washington.
You’ve probably heard the phrase, “There is a thin line between love and hate,” meaning that the emotions of love and hatred can be closely linked. Our world often balances on a knife-edge between these two themes without even noticing. Oddly enough, love and hate activate the same part of the brain. Generative AI represents a growing field that continues to evolve, offering exciting opportunities for innovation as well as serious challenges, thus causing division between those who love it and those who hate it.
The concept that love and hate could be similar emotions is explored through the perspectives of three artists who use AI as a tool to share their unique stories. I think Generative AI art serves a distinct purpose but it can never replace a human or an artist’s ability to create. Nevertheless, it’s fair to say that AI art is beautiful because beauty is in the eye of the beholder Generative AI has many applications, including; Image Generation: Creating realistic images, such as artworks or detailed product prototypes; Text Generation: Writing coherent and contextually relevant text for various purposes, like creative writing or dialogue systems; Music Composition: Composing new pieces of music in a specific style or genre; Data Augmentation: Generating additional training data to enhance the performance of machine learning models; Drug Discovery: Creating molecular structures that can be further explored for pharmaceutical development.
As an artist that uses AI I find it pretty awesome. AI offers a new frontier for artists who use tech in different modes, providing a playful and ominous means of expression. My focus for this exhibition is to spotlight the positive aspects of Generative AI in the arts. While
being sensitive to the ethical challenges AI presents.
In conclusion, the exploration of the thin line between love and hate serves as a thought-provoking backdrop to the evolving landscape of Generative AI. As our world teeters on the edge of these contrasting emotions, it becomes evident that the same neural
pathways activated by love and hate also contribute to the complex reactions towards AI.
Generative AI emerges as a dynamic force, offering both exciting possibilities for innovation and formidable challenges that give rise to a dichotomy of opinions. The division between enthusiasts and skeptics underscores the transformative power of this technology, prompting a deeper examination of its impact on our artistic expressions and societal perceptions.
Through the lens of three artists, the concept of love and hate as analogous emotions finds a unique narrative in the realm of AI. These creators leverage AI as a tool to share their distinct stories, illustrating the symbiotic relationship between human creativity and
technological advancement.
While acknowledging the distinct purpose of Generative AI art, there remains a recognition that it can never replace the innate abilities of a human artist. The exhibition, with its focus on the positive aspects of AI in the arts, sheds light on the playful and ominous ways in which this technology becomes a new frontier for creative expression. In essence, Generative AI opens up a novel form of communication, offering artists a means to express ideas in ways previously unexplored. As we navigate the gray areas presented by AI, it becomes clear that the convergence of technology and art brings forth a realm of endless possibilities, encouraging us to embrace the transformative
potential while remaining mindful of the ethical considerations that accompany this groundbreaking journey.
ABOUT THE ARTISTS
Patsy Coffey Kline
Patsy Coffey Kline was born in Manchester, Kentucky and raised in the greater Cleveland, Ohio area. She received her BFA from the Cleveland Institute of Art with a major in graphic design and minor in photography, graduating in the top ten percent. Shortly after graduation Kline moved to Tremont where she began a graphic design and marketing firm that supplied gratis services to area nonprofits such as Cleveland Public Theater and Near West Theater. In 2002 she opened her first gallery, Gallery U Cleveland, in the Colonial Marketplace Arcade, downtown Cleveland.
Since 1996 she has focused on curating multi-sensory art exhibitions which include everything from live original music, DJ’s, stilt and luminous dance, to videography, juggling, and card and poetry readings. Kline has facilitated nearly 200 events spotlighting Cleveland and internationally known artists.
Kline is interested in creating a conversation about what holds important in our shared contemporary culture and experience. Trying to prompt an exchange that removes the traditional boundaries imposed by the institutional system or other accepted norms in order to question what it is that brings us together and share intimacy. At the heart of Kline’s work is the idea of establishing relationship; creating new bonds and strengthening old; of the profound difficulty in connecting, repairing, loving. Kline’s work asks one to wonder if those difficulties are not what we need to overcome in order to love, if they are what make love so meaningful. Her work investigates whether minimizing those contradictions and difficulties, is to minimize love itself. Her installations are at first therapy; then art takes over. “It’s the right method for me, turning things to my advantage in order not to suffer from them,” states Kline.
Patsy Kline, “Filters, Fronts, and Facades”, 2022
Artist Statement
This series explores the vicious cycle of our tendency to love hating on the things we love to hate, and to call it love.
Each video contains my image and belongs to a larger series titled “Filters, Fronts, & Facades,” which began in 2020. I start with one of three analog images I have taken of myself, then filter through various applications, including AI and Instagram filters, until I feel it is complete.
Patsy Coffey Kline was born in Manchester, Kentucky and raised in the greater Cleveland, Ohio area. She received her BFA from the Cleveland Institute of Art with a major in graphic design and minor in photography, graduating in the top ten percent. Shortly after graduation Kline moved to Tremont where she began a graphic design and marketing firm that supplied gratis services to area nonprofits such as Cleveland Public Theater and Near West Theater. In 2002 she opened her first gallery, Gallery U Cleveland, in the Colonial Marketplace Arcade, downtown Cleveland.
Since 1996 she has focused on curating multi-sensory art exhibitions which include everything from live original music, DJ’s, stilt and luminous dance, to videography, juggling, and card and poetry readings. Kline has facilitated nearly 200 events spotlighting Cleveland and internationally known artists.
Kline is interested in creating a conversation about what holds important in our shared contemporary culture and experience. Trying to prompt an exchange that removes the traditional boundaries imposed by the institutional system or other accepted norms in order to question what it is that brings us together and share intimacy. At the heart of Kline’s work is the idea of establishing relationship; creating new bonds and strengthening old; of the profound difficulty in connecting, repairing, loving. Kline’s work asks one to wonder if those difficulties are not what we need to overcome in order to love, if they are what make love so meaningful. Her work investigates whether minimizing those contradictions and difficulties, is to minimize love itself. Her installations are at first therapy; then art takes over. “It’s the right method for me, turning things to my advantage in order not to suffer from them,” states Kline.
Patsy Kline, “Filters, Fronts, and Facades”, 2022
Artist Statement
This series explores the vicious cycle of our tendency to love hating on the things we love to hate, and to call it love.
Each video contains my image and belongs to a larger series titled “Filters, Fronts, & Facades,” which began in 2020. I start with one of three analog images I have taken of myself, then filter through various applications, including AI and Instagram filters, until I feel it is complete.
Jason Toth In this exhibition, my journey from the depths of self-hatred to the heights of self-love unfolds alongside a contemplation of our entwined destinies with artificial intelligence. This narrative delves into the precarious balance between love and hate—a theme that not only mirrors my personal transformation but also our collective engagement with technological advancement.
The artworks presented are manifestations of intense emotional landscapes, where the thin line between love and hate is both a personal and a technological frontier. They explore how quickly passion can turn to disdain, how deeply held affection can morph into animosity, and how our embrace of artificial intelligence can shift from awe to alarm. This delicate balance is a testament to the intensity of our emotions and the fragility of our convictions, highlighting the need for vigilance in our emotional and ethical engagements. Each piece is a reflection on the ease with which we can traverse from love to hate and back, often without realizing it. This journey is not linear but a spectrum of experiences and emotions, marked by moments of clarity and confusion alike. Through a blend of colors, textures, and mediums, I aim to capture the essence of this delicate balance, inviting viewers to ponder the fluidity of their own emotions and the ethical implications of our intertwined lives with AI. This collection serves as a reminder of the importance of self-awareness and emotional intelligence in navigating the complexities of love, hate, and technology. It underscores the importance of maintaining a balance, recognizing the potential for transformation within ourselves and in our relationship with the machines we create. In sharing this journey, I hope to inspire reflection on the thin lines that define our emotional landscapes and our future with technology, urging a mindful approach to the way we love, hate, and innovate.
The artworks presented are manifestations of intense emotional landscapes, where the thin line between love and hate is both a personal and a technological frontier. They explore how quickly passion can turn to disdain, how deeply held affection can morph into animosity, and how our embrace of artificial intelligence can shift from awe to alarm. This delicate balance is a testament to the intensity of our emotions and the fragility of our convictions, highlighting the need for vigilance in our emotional and ethical engagements. Each piece is a reflection on the ease with which we can traverse from love to hate and back, often without realizing it. This journey is not linear but a spectrum of experiences and emotions, marked by moments of clarity and confusion alike. Through a blend of colors, textures, and mediums, I aim to capture the essence of this delicate balance, inviting viewers to ponder the fluidity of their own emotions and the ethical implications of our intertwined lives with AI. This collection serves as a reminder of the importance of self-awareness and emotional intelligence in navigating the complexities of love, hate, and technology. It underscores the importance of maintaining a balance, recognizing the potential for transformation within ourselves and in our relationship with the machines we create. In sharing this journey, I hope to inspire reflection on the thin lines that define our emotional landscapes and our future with technology, urging a mindful approach to the way we love, hate, and innovate.
Gina Washington
Gina Washington was born and raised in Cleveland, Ohio, and graduated with an MFA in Photography from Ohio University in Athens, Ohio. She considers herself “a Child of the Universe” and has traveled to many places collecting images and connecting artists.
Gina has exhibited her work nationally and internationally. Most recently, she was awarded a residency with Akron Soul Train Art Museum and the Cleveland Foundation Equity in the Arts Fund grant as she creates art “by any means necessary.” She is the
founder of Mateza Gallery LLC on Etsy and, as a master collaborator, co-founded The Visit Arts Collective. Ultimately her goal is to bring clarity and solutions to the chaos in the world through art and to make art accessible to all people, especially the disenfranchised and underrepresented in the global community.
Gina Washington was born and raised in Cleveland, Ohio, and graduated with an MFA in Photography from Ohio University in Athens, Ohio. She considers herself “a Child of the Universe” and has traveled to many places collecting images and connecting artists.
Gina has exhibited her work nationally and internationally. Most recently, she was awarded a residency with Akron Soul Train Art Museum and the Cleveland Foundation Equity in the Arts Fund grant as she creates art “by any means necessary.” She is the
founder of Mateza Gallery LLC on Etsy and, as a master collaborator, co-founded The Visit Arts Collective. Ultimately her goal is to bring clarity and solutions to the chaos in the world through art and to make art accessible to all people, especially the disenfranchised and underrepresented in the global community.
ABOUT EVERYDAY PEOPLE (an ongoing series)
"I am everyday people, yeah, yeah
There is a blue one who can't accept
The green one for living with
A fat one tryin' to be a skinny one
Different strokes for different folks
And so on and so on and scooby-dooby-dooby
We got to live together."
(partial lyrics Songwriter: Sylvester Stewart)
Everyday People is an experimental body of artwork created through Generative AI that leverages it as a tool. Generative AI is a symbiotic relationship between human creativity and technological advancement. My project will transform and illustrate my connections to my family, specifically my daughter.
With Everyday People, I am working in layers, exploring and experimenting with new ways to examine relationships and the distance between them. The phone, a miniature computer, collapses time and space and, in many ways, makes it easier for people to travel further from their roots. That same tool makes it easier to record and document that separation. For some, it is paramount in forming and developing our identities in this post-pandemic/throw-away world. The phone is the first layer in this project that will be manipulated and transformed through AI. Generative AI is the next layer that will couple my image with a prompt to create something new. The final layer will be my ability to manipulate and enhance that object.
Each element in this process uncovers other layers. As a BIPOC artist, simply using AI reveals the lack of representation behind the algorithm. I am, on many levels, training the system to generate images that are intentional and outside of its normal parameters. The Song Everyday People, by Sly and the Family Stone, became the title of this body of artwork because the lyrics speak to the thin line between love and hate in people. And as prophetic as the system may be, it generated a myriad of people within the African Diaspora of all ages, proving that two women can be every type of Everyday people.
Artist Gina Washington
Prompts used were general and poetic. Two songs were used in the body of the prompt to play with language and visual representation.
"I am everyday people, yeah, yeah
There is a blue one who can't accept
The green one for living with
A fat one tryin' to be a skinny one
Different strokes for different folks
And so on and so on and scooby-dooby-dooby
We got to live together."
(partial lyrics Songwriter: Sylvester Stewart)
Everyday People is an experimental body of artwork created through Generative AI that leverages it as a tool. Generative AI is a symbiotic relationship between human creativity and technological advancement. My project will transform and illustrate my connections to my family, specifically my daughter.
With Everyday People, I am working in layers, exploring and experimenting with new ways to examine relationships and the distance between them. The phone, a miniature computer, collapses time and space and, in many ways, makes it easier for people to travel further from their roots. That same tool makes it easier to record and document that separation. For some, it is paramount in forming and developing our identities in this post-pandemic/throw-away world. The phone is the first layer in this project that will be manipulated and transformed through AI. Generative AI is the next layer that will couple my image with a prompt to create something new. The final layer will be my ability to manipulate and enhance that object.
Each element in this process uncovers other layers. As a BIPOC artist, simply using AI reveals the lack of representation behind the algorithm. I am, on many levels, training the system to generate images that are intentional and outside of its normal parameters. The Song Everyday People, by Sly and the Family Stone, became the title of this body of artwork because the lyrics speak to the thin line between love and hate in people. And as prophetic as the system may be, it generated a myriad of people within the African Diaspora of all ages, proving that two women can be every type of Everyday people.
Artist Gina Washington
Prompts used were general and poetic. Two songs were used in the body of the prompt to play with language and visual representation.
#1-I sing the body electric I celebrate the me yet come I toast to my own reunion when become one with the sun And I'll look back on Venus I'll look back on Mars And I'll burn with the fire Of ten million stars And in time and in time We will all be stars I sing the body electric I glory in the glow of rebirth Creating my own tomorrow When I shall embody the Earth And I'll serenade Venus I'll serenade Mars And I'll burn with the fire Of ten million stars in time and in time We will all be stars
Songwriters: Dean Pitchford / Michael Gore sung by Irene Cara in the film FAME |
#2-How many mountains must you face before you learn to climb?
I'm gonna give you what it takes, my universal child I'm gonna try to find a way to keep you safe from harm I'm gonna be a special place, a shelter from the storm And I can see you, you're everywhere, your portrait fills the sky I'm gonna wrap my arms around you, my universal child And when I look into your eyes, so innocent and pure I see the shadow of the things that you've had to endure I see the tracks of every tear that ran right down your face I see the hurt, I see the pain, I see the human race And I can feel you, you're everywhere, shining like the sun I wished to god that kids like you could be like everyone How many tumbles must it take before you learn to fly? I'm going to help you spread your wings, my universal child By Annie Lennox |