Karoline Georges
ABOUT
The Post-Brocart Chamber is an 18-channel video installation conceived as a series of poetic portraits of artificial intelligence. Drawing from textile, art history and the anatomy of living forms, the work imagines synthetic creatures whose bodies are woven from brocade, lace, embroidery, ornament and fragments of cultural memory. Presented at Fotografiska Stockholm in 2026 as part of The Machine’s Eye in Human Hands, the installation brings eighteen video loops together in a dense, linear configuration. Each creature exists autonomously, yet together they evoke a larger, shifting intelligence: a multiplied presence that reflects the distributed nature of AI.
SELECTED FRAMES — 6 OF 8
PROCESS
The project began as an iterative visual dialogue with generative AI, through which I developed a coherent family of synthetic beings combining historical textiles, embroidery, painting, ornament and imagined anatomy. Rather than using AI to illustrate predetermined images, I use iteration as a form of visual research: forms emerge through successive generations, variations and transformations, and unexpected results often redirect the work. For the moving sequences, I developed a layered animation system that allowed different elements within each image to move independently. The monumental figures, the miniature characters inhabiting their bodies, and the 2D scenes embedded within their textiles were separated into distinct animation layers and then recomposed into a single moving image. This created multiple scales of movement within the same body, as though each figure contained its own animated worlds. The soundtracks were constructed through a similarly layered process. I generated individual sonic fragments with AI, then edited, combined and arranged them manually, building each soundtrack from multiple sound elements through a traditional editing process. Image, movement and sound were ultimately composed together as an 18-channel video installation.
Credits
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