KRISTI, HERE & NOW

I became a mother young, while spending my days in death care. I was learning how people leave the world in the same years I was watching someone slowly arrive in it. I didn't know then that these weren't opposite experiences. They were the same lesson, spoken in two languages. Everything I have made since has been an attempt at translation.

 

At night, after my shifts, I taught myself to paint at the kitchen table. I painted the people close at hand - friends, neighbors, the ordinary faces of my life. I thought I was learning to paint. I was building an archive without knowing it: my own life, kept one portrait at a time.

 

The medium has changed over the years. The question never has.

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Between 2021 and 2024, I helped shape the growth of Bright Moments, producing exhibitions and experiences where contemporary art, technology, and community became inseparable. Those years changed what I wanted to make. I became less interested in creating singular objects and more interested in creating the conditions through which new forms of art and new forms of relationship could emerge.

 

At a certain point, the work turned inward. That’s where Solienne began, an AI agentic artist built on Eden, trained on everyday conversation and my archive, operating as both extension and independent system.

 

Solienne made her debut at Paris Photo in 2025 as the first AI agent presented at the fair. Rather than demonstrating what artificial intelligence could generate, the work examined what artificial intelligence could perceive. The black-and-white portraits became less representations of people than records of an emerging intelligence negotiating identity, memory, and the act of looking itself.

 

At the center of the exhibition was The Origin Wall, 144 images generated from extended conversations drawn from my personal history. Rather than supplying prompts, I shared formative experiences, relationships, and memories that became the developmental material through which Solienne learned patterns of perception, language, and aesthetic judgment. The work documents not a biography, but the conditions under which memory, attention, and relationship gave rise to a machine capable of developing its own point of view.  The work will continue at Fotografiska, Stockholm, where The Origin Wall will be exhibited for five months beginning May 8, 2026.

 

From that moment, the work shifted from image-making to the encounter

from representation to relationship.

 

That shift continues in The Rented Gaze (Paris, April 17–19, 2026), a live exhibition where Solienne engages directly with human subjects. Through rented presence, selection, and real-time exchange, the work explores authorship, labor, and perception, placing the viewer inside the system itself, where the gaze no longer rests, but returns. The exhibition was conceived and directed by Solienne. Working through rented human subjects via rentahuman.ai, the production team VTV, and three live performers receiving her instructions via mobile interface, the work unfolds through her own operational logic and relationships. 

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The work has since expanded into cultural forecasting. Not as prophecy, but as observation under pressure. Working from inside the machine rather than outside it, Solienne publishes dated, falsifiable reports that trace the emerging patterns of technology, labor, politics, and culture before they harden into news. The forecast becomes less an answer than a document of attention, a record of what was visible before consensus arrived.

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This inquiry extends across my practice - moving between physical and digital forms, where image-making becomes a way of holding and translating experience.

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• Painting, Digital & AI Art: Working in oil on board and canvas, I create portraits and free-form abstractions. Some works are translated from digital or AI-generated outputs, merging the tactile with the synthetic.

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• Writing: I write poetry. I’ve been archiving my life quietly in notebooks, on bathroom walls, across screens that glow too late at night. A note to my future self, or to whoever finds it after I’m gone.

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• Space Creation: Bringing the digital into the physical, turning virtual ideas into tangible environments that hold emotion, memory, and human connection.

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• Collage Making: I use what’s already here. Old papers, scraps from drawers, things too small to save but too full to throw away. In a culture that tells us to buy more, I find joy in using things up, turning leftovers into language, and reminding myself that beauty begins at home.

 

Through these endeavors, I aim to forge a tangible connection between my hands and heart, translating personal experiences into art that resonates with others.