LIGHTS I NEVER KNEW, NO. 1
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SERIFA
Where does art begin, and where does it end? What is imitation, and what is already invention? Within this tension unfolds the work of the artist duo SERIFA—at the intersection of art and code,… Read more
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ERODING LINES, NO. 1
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I GROW WHERE I AM NOT PLANTED, NO. 4
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THROUGH THE VEIL OF TIME, NO. 8
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THROUGH THE VEIL OF TIME, NO. 1
from US$ 599
3 sizes available
Unfortunately, this artwork cannot be added to the room view.
Background Information about SERIFA
Introduction
Where does art begin, and where does it end? What is imitation, and what is already invention? Within this tension unfolds the work of the artist duo SERIFA—at the intersection of art and code, tradition and innovation. Much in their images remains deliberately unsaid—intentional blurring that does not offer answers, but poses questions; that opens up space instead of narrowing it; that suggests rather than instructs. What defines their work is the paradoxical relationship between AI-generated form and AI-centered meaning: while their subject matter engages explicitly with artificial intelligence, their visual language resists all aesthetic conventions of the medium. It is precisely this tension that enables an ongoing dialogue between the work and its own premise—a visual invitation to reflect on the limits, possibilities, and autonomy of art. Their images appear calm, almost contemplative: muted in palette, softened in contour, and imbued with an atmosphere that recalls watercolour or translucent glaze far more than pixel-based output. These works oscillate between figuration and dissolution—not out of ambiguity, but as a deliberate stance: one of openness, silence, and interpretive space. Through their ongoing project ART EVERY DAY, now spanning over 600 consecutive days, SERIFA have established a practice grounded in painterly thinking. Instead of daily sketches, each day begins with a new prompt—and with it, a new image. What is ultimately elevated to the status of art is not decided by the machine, but by the eye: a faculty central to both art and human experience. The act of seeing, of discerning—form, meaning, friction. The courage to name, to frame, to say:
“This is art.”
Their portraits are shaped by anonymity, encryption, and transformation. The faces do not return the viewer’s gaze. They are withdrawn, at times almost transparent, immersed in themselves. These works trace art-historical lines—from Odilon Redon to Francis Bacon—as well as to the poetic softness of early 20th-century gum bichromate printing: a photographic process that embraced painterly blur to speak the language of painting. SERIFA’s images inherit a similar poetic vagueness—while reflecting on questions that remain essential: What is art? Who decides?
How much authorship lies in selection, context, intention? And how much autonomy in imitation—in mimesis? At the centre is not the technology, but the attitude. For SERIFA, AI is a tool—not a substitute, but an extension. The daily process enables them to observe, shift, and refine their visual vocabulary. Chance and control, impulse and refinement, generation and allowance—all move together. Final image processing is done consciously and precisely—not to conceal, but to animate. SERIFA engage—visually and conceptually—with enduring questions from the history of art, carrying them forward into a time in which creativity and technology are no longer opposites, but part of a shared discourse. Their works challenge our perspectives—and our understanding of the pathts art can take, and where they might lead.