Dimitris Agathopoulos is an independent New Media Artist.

His artistic research and work focus on creating Virtual and Augmented Reality experiences and narratives, algorithmic art, AI-aided art, 3D sculpting, 3D modeling, experimental animation, sound design, digital scenography, projection mapping, and painting. He teaches 3D Design in the MA in Digital Arts program at the Athens School of Fine Arts, and he also instructs courses in Plastic Arts with Digital Media and Digital Audiovisual Representations at the Department of Interior Architecture in the School of Applied Arts and Culture at the University of West Attica.

Art, AI, and the Transformation of Vision

I don’t approach AI as a promise of better images or extended perception. What interests me is the moment when vision stops feeling reliable. When what we see no longer feels grounded in a single subject, a single intention, or a single way of making sense of the world.

Human vision was never neutral. It was always trained, rehearsed, disciplined—by culture, by memory, by technology itself. AI does not introduce distortion into an otherwise stable system. It exposes the fact that vision has always been constructed. By placing a non-human gaze next to our own, it makes visible the rules, exclusions, and habits that quietly shaped how we learned to see.

In my practice, AI functions less as a tool and more as a structural condition. It operates as a system that reorganizes authorship, agency, and imagination. When an algorithm produces an image that feels unfamiliar or excessive, the question is not whether the machine is creative. The question is why certain visual outcomes surprise us, and what this says about the limits we have internalized as human makers.

At the same time, machine vision is never innocent. It is built from data, and data carries history—social hierarchies, omissions, power relations. Bias does not appear as an error in the system but as part of its texture. I am interested in working inside this tension, where AI becomes both a mirror of inherited ideologies and a mechanism that can make those ideologies visible, even uncomfortable.

My work moves across animation, immersive environments, spatial narration, and AI-driven image systems, treating these media as interconnected fields rather than isolated techniques. What connects them is an ongoing negotiation between control and unpredictability, intention and emergence, human decision-making and computational processes.

Rather than seeking coherence, I work with instability. Vision, authorship, and meaning remain open, provisional, and contested. In this unstable space, art becomes less about producing images and more about testing the conditions under which images appear, circulate, and begin to shape how reality itself is imagined.