Agnieszka Pilat on Heterobota for NGV Triennial.

From classic painter to “machine chaser”

Despite her futuristic work – which seems to be worlds away from the traditional oil paintings that dominated galleries centuries ago – Agnieszka was actually trained as a classic portrait painter.

For the self-described “machine chaser”, the transition from portraits to robots was an intuitive one. “When you think about portraiture, it really reflects power in society,” she says. “So when I moved to Silicon Valley, it occurred to me that power right now is with the machine, is with technology.”

Her earlier portrayals of machines focused on vintage objects. This included an oil painting of an old-school fire alarm bell for Paul Stein – the developer behind AirBnB's head office in San Francisco.

“When I transferred to painting portraits of new machines, I changed my colour palette, I changed my approach, I thought of them as children, as young, youthful,” she says.

As Agnieszka’s projects grew more curious and whimsical, it was clear that technology was more than just her muse – it started to become an active part of her work.

The age of the machine

The Polish American artist says she feels optimistic about what technology can do for art. Although Heterobota represents “the age of the machine”, it takes a playful and curious approach, reiterating “the best features of humans”.

At first glance, Bunny Spot, Basia Spot and Omuzana Spot might seem similar, but through a mixture of machine learning, AI and the artist’s own intervention, they actually have their own unique identities and traits.

Basia, for example, has been trained to be creative and paint. The robot was originally designed for industrial purposes – to work in dangerous environments such as power stations and oil rigs – but Agnieszka saw the creative potential in her.

“[Heterobota] is a collaboration between me, a human, and a machine,” Agnieszka says.