One-of-a-Kind in a World of Copies

In a world of copies, I’m making one-of-a-kind paintings about the pressure to conform.

Technology has made it easier than ever to replicate, to remix, to repeat — but in that convenience, something deeply human is lost. Every algorithm is built on recognition: it rewards what it already understands. The result is a culture that values repetition over originality, predictability over risk.

 In a world of copies, I’m making one-of-a-kind paintings about the pressure to conform.

My Facetune Portraits respond to this tension. Each work begins with an AI-generated distortion — an algorithmic “ideal” of what a woman’s face should look like. Then, through painting and digital reworking, I intervene, reclaiming the human presence inside the machine’s perfection.

It’s a push and pull between visibility and erasure, between being seen and being standardized.

These portraits are both a critique and a confession — because even knowing how these systems work, I still feel their pressure. The desire to conform is seductive, especially when it’s coded as success.

Making something one-of-a-kind is a rebellion against that seduction.It’s a refusal to become a copy of what the world already wants.

In an era of endless duplication, art reminds us that individuality still matters — not because it’s perfect, but because it’s irreplaceable.