Dorota Gawęda and Eglė Kulbokaitė at Amanda Wilkinson Gallery
The know-how behind infamous “deepfakes,” generative adversarial networks (GANs) are basically robotic artists: two neural networks pitted towards one another to generate copies of knowledge. For his or her exhibition “Counting Seasons,” the Basel-based artist duo Dorota Gawęda and Eglė Kulbokaitė use these networks to govern pictures, transferring digital prints instantly onto aluminum-framed canvases. The outcomes are bewitching distortions of nature endowed with a glitchy urgency. Pixel Plot Squatter (1bba13785edc9e257113a44ac796), 2022, resembles a metallic flower, serrated petals blooming from a background of extremely saturated blues and oily black smears: Baudelaire fed by means of Blade Runner. In one of many largest works, Seasons (1a0e883ec31c6df74cf59484b39b), 2021, a blizzard of gesso splatters over a splintered illustration of a daisy. The print itself is torn and ripped, exposing corners of the canvas and fissures of empty white house; it’s a picture created as a lot from what’s not there as what’s.
Hanging over the doorway to the gallery, Gusła (fb09076fda73e576), 2020, contains a whirring LED fan that tasks footage of lush inexperienced surroundings. The hypnotic oasis of sunshine floats after which vanishes within the air. Within the remaining set of works, we transfer totally into the third dimension. Untitled II and III, each from 2021, are wall-mounted chrome replicas of farm instruments which were crafted to look mangled and misshapen. The rake is lacking two of its tines, whereas the pitchfork is sort of comically wonky. Like the remainder of these artificial riffs on the panorama, nothing is sort of as pure because it first seems.
— Daniel Culpan
