CASSIE ANGELIS

Cassie Angelis’ practice examines hybrid authorship and posthuman image making through a methodology that moves between spirit writing, AI generation, painting, and digital recomposition. Her process begins with spirit writing, where immediate visual impressions are articulated as concise textual fragments. These texts become prompts for AI seed images, connecting her work to the linguistic strategies explored by artists such as Adrian Piper and Mary Kelly, and to the feminist critiques of image production articulated by Hito Steyerl.

Angelis responds to each seed through acrylic painting, developing chromatic and gestural structures that negotiate between algorithmic logic and embodied mark making. Her approach aligns with women who work at the intersection of digital aesthetics and painterly experimentation, including Laura Owens, Jacqueline Humphries, and Amy Sillman, each of whom examines how screens, translation, and mediation reconfigure contemporary painting.

The paintings are then digitised and recomposed with their original seed images in Photoshop. Through layering, mirroring, and chromatic modulation, Angelis produces hybrid forms that exist between analogue and digital visual systems. This approach resonates with theoretical positions advanced by Rosi Braidotti, N. Katherine Hayles, and Donna Haraway, whose work considers how technological processes shape perception, agency, and embodied knowledge.

In the final stage, the hybrids are extended into looping mandalas that draw from global histories of geometric pattern, structuralist experiments by filmmakers such as Lis Rhodes, and contemporary practices in generative image culture led by women artists in computational art. Through this multistage process, Angelis positions translation between text, algorithm, gesture, and duration as a critical method. Her work demonstrates how intuition and computation co-produce visual form within contemporary posthuman environments.

Across this expanded workflow, Angelis treats digital and psychic technologies as parallel interfaces that recalibrate how images are sensed and understood. The resulting works invite viewers into an environment of perceptual drift, where intuition, code, memory, and materiality circulate without hierarchy. By foregrounding the slippages between these states, Angelis proposes a model of contemporary image making in which authorship is distributed, consciousness is porous, and visual meaning emerges through continual transformation.