DAMN TRUE

Can you describe the moment when you first realized you wanted to explore the boundary between digital and physical images?

I realized that this wasn’t just a “border,” but a seam that could be pulled on. I distorted a heavily compressed photo, crumpled it, scanned it, and overlayed AI fragments and a collage of my iPhone photos. The image breathed in two rhythms, paper and pixels. The “mistakes” became meaningful.

DAMN TRUE | «Un[Titled]» | 2024

What inspired you to focus on distortion and deformation as central themes in your “UNTITLED” series?

Distortion is like memory telling the truth: crooked, but honest. I grew up in the visual environment of the first low-quality images on the internet, and behind their digital scars, you could read the story of the last person who uploaded that image. In UN[TITLED] I amplify these scars by stretching, re-encoding, printing, crumpling, rescanning, and layering AI textures and physical debris. Deformation becomes a form of testimony.

DAMN TRUE | «Un[Titled]» | 2024

How do you balance chaos and beauty when creating these “distorted” worlds?

I call it “digital memory” for myself. The proportion is around 60/40: there’s enough chaos to make the work lively, and enough beauty to make you want to return to it.

DAMN TRUE | «Un[Titled]» | 2024

How do you see the role of Web 3.0 in the future of art and image-making?

This is not only a market, but also an infrastructure for authorship and evolution. It allows works to change their state while remaining verifiable. It is also about multiple authorship, where artists, collectors, and algorithms collaborate with code incentives.

DAMN TRUE | «Un[Titled]» | 2024

Which of your exhibitions has been the most meaningful to you, and why?

The most powerful were the small, deliberately “rough” shows, where the viewer could pick up the crumpled prints and compare them with their digital counterparts. People would run their fingers over the creases, and only then would they notice the AI seams—this delayed recognition was powerful. I’ve found that my work works best when tactility and screen are juxtaposed in the same space.

DAMN TRUE | «Un[Titled]» | 2024

Are there new technologies or mediums you would like to experiment with in the near future?

Yes: realtime, mixing optical communication with AI interpolation; large-format video transfers to non-standard bases.

DAMN TRUE | «Un[Titled]» | 2024

If you could collaborate with any other artist or researcher, who would it be and why?

A perfect triangle: a computer vision researcher who studies biases in datasets; an urban ecologist who studies the flow of material waste; and an artist like Sougwen Chung or Ian Cheng who works with living systems. Together, they can create images that literally “digest” urban data and transform it into visual distortions—works that change as the world around them changes.