Rachel Rossin's AI-coauthored paintings explore technology's theological dimensions at Albion Jeune

Rachel Rossin's second UK solo exhibition, The Totalists, opened at Albion Jeune in London from 24 April to 1 June 2025. The show features paintings created using an AI system called 'Scry-Borg' that Rossin trained exclusively on her own artistic output, beginning with childhood drawings. This AI generates evolving images that serve as prompts for her paintings, creating a recursive dialogue between artist and algorithm. The works explore themes of human-machine symbiosis, with titles like Telos, p(doom)1, p(doom)2, and Brazen Head examining the fusion of flesh and technology. Many canvases adopt tall, narrow formats reminiscent of stained glass windows and altarpieces, suggesting ecclesiastical architecture. A ceiling-mounted screen work titled For the Totalists displays unmediated AI-generated forms, reinforcing the exhibition's exploration of technological opacity. Rossin's approach moves beyond superficial AI aesthetics to investigate unstable, searching questions about creativity in an era where cognition is no longer exclusively human. The exhibition was reviewed in ArtReview's Summer 2025 issue by Alexander Harding, who noted that while some works like Telos feel diagrammatic, others like the p(doom) paintings achieve greater compositional freedom and ambiguity. The show represents Rossin's return to painting after recent digital-heavy installations while maintaining her consistent focus on humanity's prosthetic relationship with technology.