Instagram story viewer> @surfacecollider> Tagged
James Irwin(@surfacecollider)'s profile avatar HD Profile

James Irwin

@surfacecollider

1.3K
followers
2133
following
Artist. PhD Contemporary Art Research Centre, Kingston. Associate Lecturer, UAL. Digital Media Tutor, RA Schools. Resident @foreignobjekt
POSTS STORIES REELS TAGGED
When AI turns text into images, where does creativity actually lie? ⁠ ⁠ This workshop offers a critical introduction to text-to-image systems using Stable Diffusion, encouraging participants to reflect on authorship and agency in AI-assisted image-making through guided exercises and group dialogue.⁠ This workshop is for anyone interested in engaging critically with AI. Led by artist James Irwin, the session includes practical experimentation alongside examples from contemporary AI art practices. Participants will use RunDiffusion, a browser-based platform that enables access to Stable Diffusion models running entirely on a remote server.⁠ ⁠ ⁠ James Irwin [@surfacecollider] is an Artist, PhD researcher at Kingston School of Art, Associate Lecturer at UAL and Digital Media Tutor at the Royal Academy Schools. He works with web technologies, AI systems and digital sound and image to investigate the notion of a vital life force inherent within digital media.⁠ ⁠ Limited spots—register now! ⁠ Book your tickets through the link in bio. ⁠ ⁠ 🗓️14 Mar 2026 ⁠ ⏰ 11:00 am – 1.30 pm ⁠ 📍 arebyte Digital Art Centre, 25–27 Camden Road, NW1 9LN ⁠ 🎟️ Starting from £16 ⁠ 🔗Link in bio⁠ ⁠ ⁠ 💻 Equipment: Please bring a personal laptop with a RunDiffusion account. This workshop is for beginners. No prior experience with Stable Diffusion or coding is required.⁠ ⁠ #AI #StableDiffusion #techworkshops #generativeart
0
Download
Flat Volume - up close ….. part 2 of 2 FLAT VOLUME 💫 I am delighted to present a survey exhibition of 41 pieces of work from 38 artists. Aimed at contextualising ‘Flat Volume’ and its’ concept within contemporary painting. Stemmed from Paul Nash’s ‘Equivalents for the Megaliths’ 1935 and Phyllida Barlow’s wealth of ‘coloured drawings”*. In a time where we can be increasingly consumed by screens, the remit of the exhibition is to highlight and absorb the physical forms and objects we are surrounded by and therefore also highlighting our own relationships to our physical haptic environments; how we deal with the importance of ‘object-ness’ and questioning the values of form through painting. This selection of national and international artists all interrelate by their enduring preoccupation with how volume is conjured, achieved and explored through varieties of strategies, instincts and processes. These include: 1. Placement of Parts: absolute idiosyncratic specificity of placement. 2. Object(ness)/Form: desire for ‘solid’ forms - within the picture plane - alongside a pull to unusual structures. 3. Relief - concave/convex: the melding boundaries of painting and sculpture. 4. Illusion of form or relief. These works bring to the forefront object non-objects and in doing so enhance our attention upon the visual fundamentals but through slow(ed) viewing - within the dynamic ‘lived’ and arresting moments of the painting - which allows us to view and interrogate material culture and value systems; our relationship to them and ideally more consciously acknowledge them, however beguiling. Supported by Norwich University of the Arts #flatvolume *citation in the comments below
3
Download
Flat Volume - 📸 opening - 23rd Oct TOMORROW/Sunday 9th Nov. is the last day 12pm-5pm & also the Finissage from 2pm-5pm Thanks to @jonbakerpeople for the wonderful photos + @yunkyung_jeong in her studio in Seoul : ) …for more pv images - see the reel posted on 25th Oct FLAT VOLUME 💫 I am delighted to present a survey exhibition of 41 pieces of work from 38 artists. Aimed at contextualising ‘Flat Volume’ and its’ concept within contemporary painting. Stemmed from Paul Nash’s ‘Equivalents for the Megaliths’ 1935 and Phyllida Barlow’s wealth of ‘coloured drawings”*. In a time where we can be increasingly consumed by screens, the remit of the exhibition is to highlight and absorb the physical forms and objects we are surrounded by and therefore also highlighting our own relationships to our physical haptic environments; how we deal with the importance of ‘object-ness’ and questioning the values of form through painting. This selection of national and international artists all interrelate by their enduring preoccupation with how volume is conjured, achieved and explored through varieties of strategies, instincts and processes. These include: 1. Placement of Parts: absolute idiosyncratic specificity of placement. 2. Object(ness)/Form: desire for ‘solid’ forms - within the picture plane - alongside a pull to unusual structures. 3. Relief - concave/convex: the melding boundaries of painting and sculpture. 4. Illusion of form or relief. These works bring to the forefront object non-objects and in doing so enhance our attention upon the visual fundamentals but through slow(ed) viewing - within the dynamic ‘lived’ and arresting moments of the painting - which allows us to view and interrogate material culture and value systems; our relationship to them and ideally more consciously acknowledge them, however beguiling. Supported by Norwich University of the Arts #flatvolume With thanks to: Graphic Design by sarah_ryder_ Logo by @surfacecollider There is an accompanying publication - which will be available at the opening and during the exhibition. £20 Cash or £22 Card *citation and artists’ handles in the comments below
5
Download
Delicious details of a selection of works in ‘Flat Volume’ 💎 🦪 🤍 Last day tomorrow - Sunday 9th Nov… FLAT VOLUME I am delighted to present a survey exhibition of 41 pieces of work from 38 artists. Aimed at contextualising ‘Flat Volume’ and its’ concept within contemporary painting. Stemmed from Paul Nash’s ‘Equivalents for the Megaliths’ 1935 and Phyllida Barlow’s wealth of ‘coloured drawings”*. In a time where we can be increasingly consumed by screens, the remit of the exhibition is to highlight and absorb the physical forms and objects we are surrounded by and therefore also highlighting our own relationships to our physical haptic environments; how we deal with the importance of ‘object-ness’ and questioning the values of form through painting. This selection of national and international artists all interrelate by their enduring preoccupation with how volume is conjured, achieved and explored through varieties of strategies, instincts and processes. These include: 1. ���Placement of Parts: absolute idiosyncratic specificity of placement. 2. ���Object(ness)/Form: desire for ‘solid’ forms - within the picture plane - alongside a pull to unusual structures. 3. ���Relief - concave/convex: the melding boundaries of painting and sculpture. 4. ���Illusion of form or relief. These works bring to the forefront object non-objects and in doing so enhance our attention upon the visual fundamentals but through slow(ed) viewing - within the dynamic ‘lived’ and arresting moments of the painting - which allows us to view and interrogate material culture and value systems; our relationship to them and ideally more consciously acknowledge them, however beguiling. Supported by Norwich University of the Arts #flatvolume There is an accompanying publication - which is available during the exhibition. £20 Cash or £22 Card
2
Download
Flat Volume Room 3 of the exhibition 🌀over the next couple days I’ll be posting the rest of the documentation of ‘Flat Volume’…room by room A survey exhibition aimed at contextualising Longworth-West’s term ‘Flat Volume’ and its’ concept within contemporary painting. Stemmed from Paul Nash’s ‘Equivalents for the Megaliths’ 1935 and Phyllida Barlow’s wealth of ‘coloured drawings”*. In a time where we can be increasingly consumed by screens, the remit of the exhibition is to highlight and absorb the physical forms and objects we are surrounded by and therefore also highlighting our own relationships to our physical haptic environments; how we deal with the importance of ‘object-ness’ and questioning the values of form through painting. This selection of national and international artists all interrelate by their enduring preoccupation with how volume is conjured, achieved and explored through varieties of strategies, instincts and processes. These include: 1. Placement of Parts: absolute idiosyncratic specificity of placement. 2. Object(ness)/Form: desire for ‘solid’ forms - within the picture plane - alongside a pull to unusual structures. 3. Relief - concave/convex: the melding boundaries of painting and sculpture. 4. Illusion of form or relief. These works bring to the forefront object non-objects and in doing so enhance our attention upon the visual fundamentals but through slow(ed) viewing - within the dynamic ‘lived’ and arresting moments of the painting - which allows us to view and interrogate material culture and value systems; our relationship to them and ideally more consciously acknowledge them, however beguiling. Supported by Norwich University of the Arts Photography 📷 Ben Westoby / Fine Art Documentation #flatvolume The accompanying publication - is available during the exhibition. £20 Cash or £22 Card *citation and artists’ handles in the comments below
1
Download
I’m feeling very grateful to have been invited by Sarah Longworth-West to show at Flat Volume - it’s a wonderful painting show supported by a publication that you can buy directly from Sarah for £20. It includes an essay by Nicholas Hatful, curators text with supporting images, and artist’s responses to flatness and/or volume in their work and images of all the works in the show. Here are a few photos from the exhibition taken pre /during the PV on Thursday. Unfortunately I didn’t get documentation of it all and it won’t let me tag everyone, so will add a few more posts in the coming weeks with extra images. Last photo taken by Peter Chalmers. The exhibition continues until Sunday 9th November at APT Gallery, London. @painting_longworth.west @aptstudiosgallery #FlatVolume #aptstudiosgallery Supported by Norwich University of the Arts.
9
Download
BTS 💫 The publication for ‘Flat Volume’ is currently being printed, bound & foiled…due to be delivered to me in 8 days! …yes I’m counting… Here some BTS images of the research process for the exhibition and publication including some Wip from some of the ‘Flat Volume’ artists. Opening/launching in three weeks now 💫 —— FLAT VOLUME I am delighted to present a survey exhibition of 41 pieces of work from 38 artists. Aimed at contextualising ‘Flat Volume’ and its’ concept within contemporary painting. Stemmed from Paul Nash’s ‘Equivalents for the Megaliths’ 1935 and Phyllida Barlow’s wealth of ‘coloured drawings”*. In a time where we can be increasingly consumed by screens, the remit of the exhibition is to highlight and absorb the physical forms and objects we are surrounded by and therefore also highlighting our own relationships to our physical haptic environments; how we deal with the importance of ‘object-ness’ and questioning the values of form through painting. This selection of national and international artists all interrelate by their enduring preoccupation with how volume is conjured, achieved and explored through varieties of strategies, instincts and processes. These include: 1. Placement of Parts: absolute idiosyncratic specificity of placement. 2. Object (ness)/Form: desire for ‘solid’ forms - within the picture plane - alongside a pull to unusual structures. 3. Relief - concave/convex: the melding boundaries of painting and sculpture. 4. Illusion of form or relief. These works bring to the forefront object non-objects and in doing so enhance our attention upon the visual fundamentals but through slow(ed) viewing - within the dynamic ‘lived’ and arresting moments of the painting - which allows us to view and interrogate material culture and value systems; our relationship to them and ideally more consciously acknowledge them, however beguiling. Supported by Norwich University of the Arts #flatvolume With thanks to: Graphic Design by sarah_ryder_ Logo by@surfacecollider *citation in the comments below
5
Download
‘Disinformation Network’ by James Irwin (@surfacecollider) and Off Site Project (@offsiteproject1989) at V&A Friday Late: IS THIS FOR REAL? Friday 25 April 2025 Modelling pathways between information into misinformation, ‘Disinformation Network’ gave V&A Late visitors the chance to prompt a customised Large-Language-Model (LLM) with a newspaper headline, subtitle or factual extract. Asked to “Generate a campaign of misinformation around this real news event…” the LLM would output hyperbolic, conspiratorial and tangentially misunderstood statements styled as pseudo-news social media captions. Successive requests allowed for a chain of slowly worsening misinformation to compile, mirroring the way that false narratives incrementally shift away from a truthful source. “Coronavirus Meet Your End! Government triggers hydrogen peroxide and UV-C light warfare in a colossal medical operation to decimate the deadly virus!” Initial training dataset of 250 information/misinformation pairs compiled from Reuters Fact Checking (@reuters) service; an additional three pieces of synthetic misinformation created per original styled as: Sensationalized, Conspiratorial and Subtle Misinformation. Total dataset 1000 pairings. — A huge thank you to V&A Late (@vamuseum) curator Carrie Chan (@carriechan_net) + producers Adonis Fuyana (@sayadonis) and Faunsia Tucker (@faunsiatucker). Photo credit: Hydar Dewachi (@hydardewachi) - many thanks for the brilliant images! #VandAMuseum #Misinformation
1
Download
Disinformation Network’ by James Irwin (@surfacecollider) and Off Site Project (@offsiteproject1989) at V&A Friday Late: IS THIS FOR REAL? Friday 25 April 2025 Modelling pathways between information into misinformation, ‘Disinformation Network’ gave V&A Late visitors the chance to prompt a customised Large-Language-Model (LLM) with a newspaper headline, subtitle or factual extract. Asked to “Generate a campaign of misinformation around this real news event…” the LLM would output hyperbolic, conspiratorial and tangentially misunderstood statements styled as pseudo-news social media captions. Successive requests allowed for a chain of slowly worsening misinformation to compile, mirroring the way that false narratives incrementally shift away from a truthful source. “Catastrophic! Rubio plays Prometheus - Saddling Titan of U.S. to Leap of Faith into a Nuclear Roman Candle in Iran!” Initial training dataset of 250 information/misinformation pairs compiled from Reuters Fact Checking (@reuters) service; an additional three pieces of synthetic misinformation created per original styled as: Sensationalized, Conspiratorial and Subtle Misinformation. Total dataset 1000 pairings. — A huge thank you to V&A Late (@vamuseum) curator Carrie Chan (@carriechan_net) + producers Adonis Fuyana (@sayadonis) and Faunsia Tucker (@faunsiatucker). Photo credit: Hydar Dewachi (@hydardewachi) - many thanks for the brilliant images! #VandAMuseum #Misinformation
4
Download
V&A Friday Late: IS THIS FOR REAL? Friday 25 April 2025 ‘Disinformation Network’ by James Irwin (@surfacecollider) and Off Site Project (@offsiteproject1989) 18:30-21:00 Digital Studio, Learning Centre Interact with a generative AI system specially trained with misinformation sourced from everyday news websites. You will be guided to write prompts to communicate with the AI and explore narratives of misinformation. — Big thanks to James for being such a great collaborator on this misinformation experimentation and to Carrie Chan (@carriechan_net), Adonis Fuyana (@sayadonis) and Faunsia Tucker (@faunsiatucker) at the V&A (@vamuseum) for the invitation and their support! #victoriaandalbertmuseum #misinformation
2
Download
Ello ! So I’ve become a mad obsessive clockmaker during my time studying @royalacademyarts …💀 Thank you to all those who came along last Thursday for the PV and those who have come through since - I hope you all enjoyed the show. It was a JOY to have so many familiar faces and loved ones in the room - my heart is very, very full xxxx Come see what we’ve been working on in our interim exhibition ‘Premiums 3’ in the Weston at the heart of the RA. This show marks the halfway point of our three magical years studying @royalacademyschools and is open Tuesday - Sunday from 10am to 6pm (open until 9pm on Fridays) until Sunday 11th May Showing with three gorgeous artists ♥️: @akafasiii @zachariahriley @djofraymakumbu Thank you to legend @surfacecollider for being so bloody patient, supportive and kind whilst helping me with these works - you totally understood what the works needed and I could not have made these pieces without you 🥹🫶🏽🌾🙏🏽 More thank yous to follow xxxx
4
Download
Enhance your skills in AI image generating with artist James Irwin @surfacecollider⁠ ⁠ In this two-part beginner workshop, you'll create a custom dataset of stylized images and alt-text descriptions to train a Stable Diffusion LoRA (Low-Rank Adaptation) model and generate AI images in your desired image style.⁠ ⁠ Through this technique, you’ll explore new ideas about control and creativity within text-to-image AI systems and interrogate what happens when we add our own human decisions back into the AI image making process.⁠ ⁠ Tickets are selling fast, book yours through the link in bio!⁠ ⁠ 🗓️ Date: 21 & 28 Sep 2024⁠ ⏰ Time: 10 am - 12:00 pm⁠ 📍 Location: arebyte Gallery, 7 Botanic Square, E14 0LG⁠ 🎫 Cost: £25 for whole series⁠ 💻 Visit the link in bio for specific session requirements.⁠ ⁠ #AI #generative #AImodel #systems #computation #Dalle #workshop #london #artistworkshop
1
Download
back to up