Author Archives: Suk Kyoung Choi

About Suk Kyoung Choi

artist / researcher

The Drowned World

The drowned world (2019), oil on board, 3 panels 24″ x 8″ each

The Drowned World

The drowned world (2019), oil on board, 3 panels 24″ x 8″ each

[video] The Trance Machine (2019)

The Trance Machine explores the liminal border between awareness and context. Starting from the idea that every image is a composition of successively smaller images, an ever-changing manifold of frames within frames, the artists’ vision holds a tacit conversation with

[video] The Trance Machine (2019)

The Trance Machine explores the liminal border between awareness and context. Starting from the idea that every image is a composition of successively smaller images, an ever-changing manifold of frames within frames, the artists’ vision holds a tacit conversation with

When Schwitters Met Trump, (2017) is showing at ECCV in Munich, Germany

When Schwitters Met Trump, (2017) is showing at the European Conference on Computer Vision (ECCV, 2018) in Munich, Germany.   The link to the work is here: https://computervisionart.com/pieces/when-schwitters-met-trump/. If you are interested in seeing more art work using deep learning there are other

When Schwitters Met Trump, (2017) is showing at ECCV in Munich, Germany

When Schwitters Met Trump, (2017) is showing at the European Conference on Computer Vision (ECCV, 2018) in Munich, Germany.   The link to the work is here: https://computervisionart.com/pieces/when-schwitters-met-trump/. If you are interested in seeing more art work using deep learning there are other

[video] The Merz Variations no. 1 – “When Schwitters met Trump”

The Merz Variations (2018) are a series of neural network experiments in convolutional image blending. Using a combination of ‘style transfer’ and Deep Dream, the video slowly increments the influence of the Deep Dream algorithm on the blending of an

[video] The Merz Variations no. 1 – “When Schwitters met Trump”

The Merz Variations (2018) are a series of neural network experiments in convolutional image blending. Using a combination of ‘style transfer’ and Deep Dream, the video slowly increments the influence of the Deep Dream algorithm on the blending of an

“The Drowned World” series (2017)

The bottom image blends an image of an iguana (Ballard’s world is crawling with them) with a painting by Max Ernst. The top image was edited and used to style the bottom result. The iguana is retrieved from here.

“The Drowned World” series (2017)

The bottom image blends an image of an iguana (Ballard’s world is crawling with them) with a painting by Max Ernst. The top image was edited and used to style the bottom result. The iguana is retrieved from here.

“The Drowned World” series (2017)

A found by chance water-soaked movie ticket (top) convolved with a painting (not shown) by Dada/Surrealist artist Max Ernst obliquely referenced in Ballard’s novel. This pairing (bottom) represents the ‘chance operations’ aspect of compositional process. The Ernst painting I chose

“The Drowned World” series (2017)

A found by chance water-soaked movie ticket (top) convolved with a painting (not shown) by Dada/Surrealist artist Max Ernst obliquely referenced in Ballard’s novel. This pairing (bottom) represents the ‘chance operations’ aspect of compositional process. The Ernst painting I chose

“The Drowned World” series (2017)

Images here capture two central visual metaphors of Ballard’s text; that of cities (top) destroyed by the environment and that of the environment (bottom) nurtured by the dying cities.

“The Drowned World” series (2017)

Images here capture two central visual metaphors of Ballard’s text; that of cities (top) destroyed by the environment and that of the environment (bottom) nurtured by the dying cities.