Eva Prada Rodriguez,

Born in Madrid in 1982, Eva Prada Rodriguez has resided in the UK since 2017. She studied at the Escuela de Arte 10 in Madrid, specializing in graphic design, digital illustration, 3D, and animation. Over her 15-year career in the video game industry, her style and techniques evolved significantly. 

Recently, Eva has returned to traditional oil painting, embracing a figurative and classical approach. Her current series, "Technology Supercycle," explores the uncertainties and questions posed by artificial intelligence, examining humanity's role in this new reality. 

Classical references in iconography, composition, and light rendering are conscious choices to highlight the contrast between our technological future and the traditional significance of art as a human identifier, addressing themes such as AI versus humanity and the past versus the future. 

Eva's work blends classical techniques with contemporary themes, aiming to provoke thought and discussion about technology's impact on our lives. Her focus has primarily been on her professional career in the corporate world of video games but has recently shifted towards traditional art. Eva aspires to continue exploring the intricate relationship between technology and humanity through her art.

Artistic Statement

My work in progress series called "Technology Supercycle" which is currently comprised of three paintings was motivated by the initial reactions to AI-generated art, which shook the very concept of what makes us human or the very same purpose of art. 

The series explores the uncertainties and questions propelled by artificial intelligence, examining the human role in this new reality. The romanticized portrayals and the inclusion of intentional inaccuracies reflect on the errors early AIs made in depicting human anatomy, which I found paradoxically humanizing. This has led me to empathize with the technology, recognizing both its potential and its flaws.

The paintings depict various themes: from the portrayal of human fragility against technological advances in "Connectibles," to the questioning of new technological divinities in "New Idols," and the reflection on the initial stages of AI-generated art in "Human Generated Art."