A conversation with Katsukokoiso.ai
A bizarre travel into the human condition through AI tools and art
After AiMuse’s first interview with Francesco D’Isa, our journey into the intersection of artificial intelligence and creativity continues. Today, I’m speaking with an artist widely recognized in the generative art world as Katsukokoiso.ai.
His project merges artistic vision with advanced technology, producing unique content for fashion brands, musicians, and social platforms. Recently, he collaborated with OpenAI as an alpha tester for Sora, a text-to-video model, creating Surreal Elderhood—a work that explores new frontiers in digital art. (TechCrunch)
In this interview, we’ll dive into Eugenio’s journey,Recently, he collaborated with OpenAI as an alpha tester for Sora, a text-to-video model, creating Surreal Elderhood—a work that explores new frontiers in digital art.
Can you tell us about your artistic journey and how you came to integrate artificial intelligence into your work?
My artistic journey began with photography. I started in 2008 thanks to a course my partner convinced me to take together with her. In reality, my life has always revolved around creative expression: I’ve been passionate about music for as long as I can remember (I’m a self-taught musician, though I no longer play), and I’ve always loved drawing (I even tried attending the Academy of Fine Arts, but with poor results). However, in photography, I found that immediacy I was looking for (which is also why the transition to AI felt natural, but I’ll get to that later).
Photography led me down a professional path: initially, I worked in vacation resorts, then I moved to Milan, where I studied for two years at the CFP Bauer. Meanwhile, I continued working both in photojournalism and at events. However, my real core business—which in some ways connects to creating images and videos using AI—was professional stock photography and video production. We know well how stock agencies (Adobe in particular) have trained their AIs using the material we photographers produced over the years.
I became interested in generating images and videos with AI for several reasons:
the stock image market was heading in a bad direction.
I’ve always had a strong curiosity about technology.
I find many similarities between photography and AI-generated images, since in both cases we use a technological tool to create pictures.
much like mediocre painters who found their true expressive medium when photography was invented, I discovered in AI-generated images and videos my genuine means of artistic expression.
In November 2022, purely as an experiment, I created the Instagram profile katsukokoiso.ai (so named to remain anonymous and as far removed as possible from my identity as a photographer). The interest it generated was so overwhelming that it immediately became a new profession and, ultimately, my principal way to express myself artistically.
How would you define your artistic style, especially your approach to Sora art?
I can’t precisely define my style; I’d probably call it a form of “synthetic surrealism.” I’m not looking for realism, nor do I wish to replace video or photography; rather, I want to explore new worlds. Sora, which is just the latest among many platforms for which I’m an alpha or beta tester, is one of the many tools at our disposal. I’m honored to be part of the alpha testers and am trying to incorporate it into my work, which in any case involves constant experimentation with every new technology that becomes available.
How do you balance human intervention and AI contribution in your creative process? In what ways does AI become your collaborator?
We have a new tool at our disposal, and I try to study and use it to the best of my creative abilities, getting help from any resource available. My process is distinctive: I certainly start with an idea, but I like being surprised by the outcome. I don’t want complete control; it’s never been my way, and it’s not my way now. I enjoy improvisation and often adapt the outcome to my thinking, letting myself be inspired and finding meaning in what the AI generates based on texts, parameters, and my reference photos.
I use ChatGPT a lot—both to correct or create prompts from scratch and to brainstorm, find ideas, and spark inspiration. Then I move on to generating images, animating them, adding music, and finally editing. I find the whole process simply wonderful. And even though my approach to AI in art is quite trusting, I’m convinced that human will makes the difference: the ability to choose, organize, conceive, and plan.
Is there a particular piece that best represents your creative philosophy? Can you share how it was created and which tools you used?
I don’t think I have a single work that fully represents my philosophy. There are several pieces I still appreciate today. My approach is very intimate and personal, although at times I do try new paths. The works that best represent me are often bizarre, distorted, and surreal; they frequently reflect my state of mind or, more generally, the human condition. Some examples include Symphony of the Linked, Everyday Life, Humanity, You will never have me the way you want, and Trapped in an endless loop.
I don’t believe the tool is the most important aspect. It’s far more about what you want to express and the artistic and cultural background you bring to the table. Our ability to adapt these tools to our needs is what really makes the difference, and that’s always been the case. My favorite tools are Midjourney for image generation, Suno for music, and then Sora, Luma, Runway, Hailuo (minimax) for animation.
What role do mistakes or unexpected outputs from AI play in your creative process?
As I mentioned, for me, errors or unexpected results are a crucial—and perhaps the most fascinating—part of the process. I see many attempts to substitute or replicate films, animations, or photographs at all costs. I find that approach rather dull. Instead, I believe the most interesting aspect is searching for new ideas, discovering unexplored worlds, and new modes of expression. Right now, mistakes and the unexpected are absolutely necessary for that purpose. But we’re just at the beginning; there’s still so much to explore and discover.
What do you say to those who claim that AI art lacks authenticity or that artistic choices are entirely delegated to the machine?
I strongly disagree. As I mentioned earlier, even a camera “creates” images for us. After nearly two centuries, we’re used to thinking that we’re the ones who create photographs. But are we sure about that? Ultimately, we just choose the perspective, the light, the subject… the camera handles the rest. Am I wrong? Obviously, I’m being provocative (after more than 15 years of working as a professional photographer), but if you think about it, the camera is a device that does much of the work.
What makes a photograph “authorial” is precisely the human choice: the shooting angle, the lens, the camera, the settings, the idea, and the project. The same applies to AI: we give the instructions, and then we still decide. I’d encourage anyone to dig deeper: creating works that aren’t just the first random result takes considerable effort.
Think of digital photography: once upon a time, you had to use light meters and develop film in a darkroom, which was a long and complicated process; now you can see your images immediately on a display. Then smartphones came along, and everyone became a photographer, yet the photographer’s role did not die out. Those who had something meaningful to express found this new tool, while others kept churning out billions of pointless photos. The same goes for AI: anyone can create an AI image in seconds, but only a few—though that number is growing—will truly have something to say or be able to come up with innovative, original solutions.
Have you ever encountered direct criticism or skepticism about your use of AI? How do you handle it?
Yes, mainly at the beginning. Now, hardly ever. I think perception changed after I got into video because the complexity of the work is evident there. With images, just like in photography, everything can seem simpler. I’ve always addressed criticisms by drawing parallels with the history of photography and other epochal innovations: the birth of photography itself, the rise of cinema, the shift from analog to digital, the arrival of smartphones, and ultimately the invention of electricity, the internet, and social media. I see it all as a natural evolution, which of course brings new problems, but that’s always been the case.
Do you believe AI is expanding or reducing the role of the author in artistic creation?
Without a doubt, if you grasp the potential, it can only expand it. I, like so many other artists (both from older and newer generations) who use AI, am living proof of that.
Sora art seems to align well with the possibilities offered by AI. How would you describe this synergy?
I don’t believe there’s a standalone category called “Sora Art.” Rather, I think Sora, with its vast potential, joins the existing array of tools. It’s certainly powerful technology, still full of limitations but capable of remarkable quality. It offers many interesting possibilities, largely depending on the user’s sensitivity. I’m someone who seeks out errors, surrealism, and oddities, and I find its way of generating hyperrealistic hallucinations fascinating—like it brings every thought to life. Although it’s still in an early stage, it already offers a variety of functions—storyboard, blend, recut, remix… in short, it all comes down to the user’s imagination.
What are the current limitations of AI in creating this kind of art, and where do you think it could go in the future?
There are many limitations: plenty of images or texts get blocked because they might violate various policies—nudity, copyright, and so on. Yet, for instance, artistic nudity has always existed throughout art history. Then there are limitations in rendering people, movements, and camera angles. One could list many. However, I find them negligible because I still have a lot of fun with these errors and constraints. In fact, once the technology reaches a highly advanced level, I think it’ll be tougher for me to keep up: I’m not a particularly “tech-savvy” person.
What are your thoughts on the use of data by major AI companies to train models often based on existing artworks?
As I mentioned, my core business for years was producing images and videos for stock: about 100,000 files specifically for that market, for which agencies paid us authors just a few pennies to train their AI. So I should be the first to complain. Yet this doesn’t really change my perspective.
In my work, I was constantly copied (since I was one of the most recognized and prolific authors in that sector): other photographers stole my ideas and models, and there was little I could do about it. In art, “stealing,” copying, and drawing inspiration have always existed. Before any photo shoot or film production, you’d create a mood board with hundreds of other authors’ images for reference. AI does the same thing: it reworks, in its own way, all the material it was trained on, following our instructions.
The problem, if there is one, starts earlier: the web and social media. Any image, for decades, has been uploaded online and is accessible to everyone, so anyone can steal, copy, or be inspired without much trouble. So where’s the real issue? In my view, the solution is learning how these technologies work, finding new worlds and new expressive languages, and moving forward.
What measures do you think should be taken to make AI more transparent and accessible for artists?
I believe we need broader education and the availability of open-source tools. Artists must have access to technology and understand how it works so they can use it consciously. At the same time, coming from a professional background, I find it normal that certain tools come with a cost—which is, in any case, manageable. Think about the cost of cameras, lenses, and post-production software. Compared to those, AI solutions are already quite affordable.
What’s your personal approach to sustainability and the environmental impact of using AI in art?
It’s a fundamental topic, but we can’t limit it to AI alone. The world was already in a bad state long before AI spread everywhere. I hope AI itself can help find effective solutions to finally start addressing environmental issues—and much more.
How do you imagine the evolution of generative art in the next ten years? Do you see new possibilities for collaboration between artists and AI?
Absolutely! I don’t have a crystal ball—maybe one day robots will subjugate us, who knows! But if we’re optimistic, I see ever-growing interaction between artists and AI, with technologies we can’t even imagine today. We know the speed of development has grown exponentially, so the potential is enormous.
Do you think AI will become a standard tool in an artist’s toolkit, or will it remain a niche instrument?
It will become standard—it’s just a matter of time. Just as photography became an integral part of art, AI will also assume a central role.
What has been your most rewarding experience as an AI artist?
I must admit that so far, everything has been uniquely rewarding. I’ve also had some success in my specific photography sector, but what has happened (and is happening) through the conscious and studied use of AI is extraordinary. Starting with rapid growth on social media, which led to exhibitions, interviews, publications, professional collaborations, and meeting countless other artists.
Right now, I have several major projects underway that I can’t yet discuss. One of the most significant so far has been the collaboration with Lenovo and an exhibition at MEET in Milan, alongside other very talented artists, some of whom have become friends.
Has AI taught you anything about yourself or your artistic approach?
Yes, absolutely. Thanks to AI, I can delve into and express concepts that I couldn’t convey through photography. I always compare it to mediocre painters who discovered their true creative medium in photography. That’s how I feel about AI.
What emotions or reactions do you hope to evoke in those who view your work?
I always hope, quite honestly, to reach into people’s souls. My ultimate goal is to make them reflect on personal issues or on more universal themes. I try to get the viewer—or at least I hope to—to ask questions, to think things through, because that’s what I do myself while creating my works.
Has your relationship with AI changed your perspective on traditional art or other forms of creative expression?
No, it’s simply given me (and anyone who knows how to use it effectively) a new way to communicate and experiment. But I believe that’s always existed in art, especially in conceptual art. From my point of view, as I often say, the difference lies in our imagination and how we manage to shape it through the medium that best suits us.
Who would you recommend for a future interview on AI Muse?
In Italy, definitely: Francesco d’Isa (done!), Roberto Beragnoli, Alessandra Condello, Ilaria Merola, Andrea Meregalli, and Andrea Ciulu, to name a few.
Have you ever used AI to refine or translate your responses during an interview like this one?
Yes, always. In this case, I even tried letting ChatGPT respond for me, but nothing it wrote truly reflected me. So, as usual, I used it to correct and polish things where necessary, and especially to translate into English. ChatGPT has become my faithful companion for translations, writing, brainstorming, etc., but always under my control and constant revision. Conscious use of AI is essential; letting it handle everything on its own is not the right solution.