XIE HUA

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Landscape of Mountains and Mist

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Blue Mountains and Waterfalls

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Silent Poetry of an Orchid

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Garden of Abundance

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Landscape with Mountain Stream

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Chrysanthemum Blooms

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Return of Spring

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Literati Mountain Retreat

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

The Elegance of an Orchid

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Breathing in the Mist of Waterfalls

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Longevity of the Peach Tree

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Eternal Mist of Huangshan

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

The Spirit of Flowers

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Golden Mountain

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Nobel Flowering Plum

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Noble Flowering Plum

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Romance of the Peach Blossom

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Cool Mountain River Refuge

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

The Li of Waterfalls

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Vitality of the Chrysanthemum

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Mountaintop Hideaway

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Emissary of Beauty

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Fishermen on Blue Crane Mountain

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Garden of the Far East

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Scholar's Garden

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Delight of Spring

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‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA

Charm of the Finch

NFT Image

‘Xie Hua’ (写畫) Collection 1/1 Through the process of deconstructing and recontextualising the ancient Chinese instructional text on technique and aesthetics, the Mustard Seed Garden Painting Manual, first published in 1679, I have invited AI invigorated responses creating artworks that illuminate, reanimate and imagine the past in a glorious homage to tradition and technological experimentation. In China there is an historical kinship between writing (xie | 写) and painting (hua | 畫). Literati scholar-painters would describe the act of painting in terms of the verb to write, xie (写), or even praise good literati painting by calling it writing. This intersection is explored in ‘Xie Hua’ (写畫) Collection with artworks written from imagination into reality through the conduit of AI. The addition of my artist seal 蔡金娜 (Choy Gina) indicates authorship and enhances composition. While the DALL·E watermark is rotated vertically as a second seal to reflect the medium of AI.

XIE HUA