In the guise of a tradeshow booth showcasing Wolf-Gordon’s digitally printed wallcoverings on PVC-free substrates, “Project: HI > AI” went deep: invited by curator and chief creative officer Marybeth Shaw, seven distinguished artists created original patterns that explored such diverse themes as the process of making, the uniqueness of human-generated art, and anxiety over impinging technology, surveillance, and control in our lives. A timely snapshot of the meeting of human intelligence and artificial intelligence printed onto PVC-free wallcovering, “Project: HI > AI” is an industry first for commercial surface design.

Ranging from printmaker to conceptual artist, art jeweler to sign painter, the artists represent diverse media, cultural backgrounds and geographies: Hilary Lorenz, print media artist, Abiquiu, NM; Raylene Marasco, textile artist and founder, Dyenamix, NYC; Jen Mussari, calligrapher and sign painter, Brooklyn; Pat Pruitt, metalsmith, Ada, OK; Christine Tarkowski, artist and professor, SAIC, Chicago; Frank Tjepkema, designer and founder, Tjep, Amsterdam; and, Ghislaine Vinas, interior designer, NYC.

Shaw launched the project with a song, “Human Behavior” by Bjork (1993), which was written from the perspective of an animal observing humans. She suggested that, for “Project: HI > AI”, humans might be replacing the animal with a machine.

The artists submitted verbal descriptions of their work that were subsequently input into AI imaging software and, in most cases, edited by Shaw and Michael Loughlin, Wolf-Gordon design director, to achieve a more relevant approximation or contrast with the original art.

Although the AI software could not match the human’s creations, the results are remarkable for their range of interpretation and, in some instances, outputs that delight for their other worldly takes on organic and traditional motifs, hand-drawn and -painted compositions, and multi-step art making processes.

Beyond the possibility to utilize AI imaging software in commercial pattern design and the crucial role of language in the translation of imagery, the exhibition highlights what Shaw refers to as the rupture in viewing AI-generated art.

Originally debuted at HD Expo + Conference in May 2023, large panels displayed the human-generated artwork beside the AI-generated counterparts. The exhibit was then moved to the half century old surface company’s NYC headquarters, where the work is featured on sliding panels in the main gathering space, serving as the backdrop for events including a panel discussion which gathered the contributing creatives to discuss the state of AI and design.