The debate around AI is still very much alive, and it’s clear that artists and creatives in every artistic field will have to work around it in some way. “AI is just a new tool like any other type of media we’ve been using since the beginning of art,” affirms photographer and artist Sebastian T. Thorsted, who is now presenting his first solo show in Copenhagen. Titled (not) to be reproduced, and on view at Galleri Norup until November 27, the exhibition explores the possibilities of merging new software with still-life photography.
Flowers that resemble metal, glass, or balloons convey uncanny emotions. They can’t be real, can they? They look as if they could exist, if not in nature, then in a cool design shop. However, there is still something so unreal about them that it’s hard to believe. This confusion is precisely what Thorsted aims to evoke in his recent work, curated by Nicolai Anker. “Each flower is my own little experiment with materialities. I wanted to work with contrasting materialities such as the softness of balloons versus the harshness of metal or the sharpness of glass,” he explains. Today, we catch up with him to hear more about his views on the future of AI, the best and worst aspects of being a photographer, and the music that inspired his new series (including Cobrah, SOPHIE, and Arca).
Hi Sebastian, it’s so nice to have you back at METAL. Only this time, you’re a fully realised artist with a solo show in a gallery. So, first of all, congratulations! I’m happy and proud to see you grow. But for those who don’t know you, how would you briefly introduce yourself to our audience?
Indeed! Thank you so much. Of course. I’m a photographer and image-maker based in Copenhagen, working at the intersection of fine art and fashion. I’m somewhat obsessed with future aesthetics, aliens, and themes related to the natural versus the artificial.
You’re presenting (not) to be reproduced at Copenhagen’s Galleri Norup, your first solo show. How did this come about?
I was invited by a really supportive curator named Nicolai Anker, who has been working closely with some of the leading creatives in Denmark in both the fashion and art worlds. He discovered me a few years ago and had been following my work until he eventually invited me to a project for Galleri Norup, with whom he has a close collaboration. He then introduced me to Vibeke (the owner of Galleri Norup), and I shared some of my current ideas on AI and flowers — and they loved it!
The press release states that you explore and play “with our perception of reality and sense of what feels natural.” Indeed, when looking at the images, I wonder how much of that is photographed and how much is photoshopped. Could you guide us through your creative process?
Yes! I actually started the early stages of this project a few years ago when AI image-making wasn’t as accessible as it is today. I wanted to experiment with still-life images of flowers and see if we could create non-existent, realistic-looking flowers using datasets (thousands of images I had taken) of flowers. It was quite a catastrophe at the time because AI wasn’t as developed and couldn’t read and create new images as well as it can now. However, through this process, I realised that we could potentially create flowers with materialities that could never exist in the real world.
I used this knowledge, along with my understanding of how to stage a photograph, to continue this process — only this time, I wanted to include bodies and create much more precisely constructed images. For this, I use a variety of AI software, Photoshop, and upscaling programs.
I used this knowledge, along with my understanding of how to stage a photograph, to continue this process — only this time, I wanted to include bodies and create much more precisely constructed images. For this, I use a variety of AI software, Photoshop, and upscaling programs.
The flowers in your pictures look like glass, shiny balloons, metal, or dripping paint — anything but photographs. It’s somewhat disconcerting and uncanny. Is that the effect you were aiming for?
Definitely! Each flower is my own little experiment with materialities. I wanted to work with contrasting materialities such as the softness of balloons versus the harshness of metal or the sharpness of glass. I created so many different ‘material-flowers,’ but these were the ones the curator liked the most. The process is quite absurd, as I combine reference images of car tyres, soap, and fashion accessories to create the feel, shape, and colour of the flowers and bodies.
Unlike other artists who are wary of AI, you fully embrace it. When did you first start experimenting with it? What software and websites did you use, and what are you using now?
I started during the closing months of Covid in 2020 and have been experimenting with it ever since. Some of the software I use includes Dall-E, Runway, Midjourney, and Topaz.
In this exhibit, you raise the question: if we can produce infinite images, what makes a photographic work an original piece of art? So, my question to you is: do you think you’ve found an answer to that?
I don’t think there is just one answer to this. But there are some points to consider. From my perspective, AI is just another tool, like any other type of media used since the beginning of art. Just as with the canvas of a painting, you still need to guide the pencil and make decisions about subject, colour, perspective, and shape. If you don’t make these decisions, your next artwork won’t look anything like your previous one — and then where is your original voice? I’m fortunate to have a background in photography, as it helps me understand all these characteristics of an image. The main difference now is that I use a prompt instead of holding a camera.
Your work is also a glimpse into the future and the possibilities artists are exploring that will expand our perception of image-making. How do you envision the future of photography?
I think it’s already safe to say that this will become a significant part of photography in the coming years. Perhaps photographers will even be retitled as 'prompters' if they primarily work with AI-generated images. However, you still need a solid understanding of photography to depict reality in a generated image, at least if you want to create photographic work with AI rather than just 3D images or illustrations.
Currently, it still has a digital look, which works best with digital photography, but it likely won’t be long before AI can mimic styles and looks more accurately so that analogue and digital synthetic photography become indistinguishable. This will probably result in a counterwave where analogue photography becomes a luxury — and I’m sure some brands will prefer this.
Currently, it still has a digital look, which works best with digital photography, but it likely won’t be long before AI can mimic styles and looks more accurately so that analogue and digital synthetic photography become indistinguishable. This will probably result in a counterwave where analogue photography becomes a luxury — and I’m sure some brands will prefer this.
In these images, you mentioned you aimed for “a Cobrah-future energy,” which I love. Putting images aside, what music were you listening to in order to get into a 'futuristic' mindset? Of course, Cobrah, but maybe also SOPHIE, Arca, or...?
You got it right! Definitely Arca, and particularly SOPHIE’s track Pretending. I also love listening to Smerz (especially Versace Strings), and Croatian Amor’s music generally fits the vibe perfectly. Right now, strong female artists with a sexy yet dark energy are my favourite.
Being a photographer in today’s world isn’t easy. What would you say are the best and worst aspects?
It’s definitely tough. The market is very saturated, and there are many talented photographers today. I think the most challenging part is (and should be) finding your own voice — whether through themes, lighting, mood, or a distinct way of editing. However, it’s an amazing field to work in. I get the opportunity to collaborate with incredible people from the world of culture (fashion, music, art, and design), and I particularly love still-life photography. It allows me to get technical and nerdy in my own little bubble.
To create artistic work, one often has to accept commercial commissions. How do you maintain that balance?
Yes! This is probably the hardest pill to swallow, especially after studying photography. But as long as you keep nurturing what truly excites you about photography, I don’t see any issue with taking on commercial work as well. With photography, it’s like building a brand: it takes years to develop your identity and for people to recognise your strengths.
Now that you’ve achieved a solo show at an art gallery, what other milestones would you like to accomplish in the future?
I’m very humbled to have had this opportunity. But honestly, the biggest achievement is the years of work it has taken to reach this point and to be recognised for it. In the future, I’m excited to see where the realm of AI will take us — particularly within fashion. We’ve entered a new dimension, and it’s thrilling! And, of course, there are so many creatives and designers I’d love to collaborate with, so hopefully, the future will bring some exciting, futuristic collabs.
