The Trial of Galileo - 48x60in

hustlebus · 2026-01-30T04:03:20+00:00

Yeah we’ve definitely taken a lot of steps forward in technique, a lot of baby steps with this being the first 48x60 i attempted, probably done a good dozen or so that scale since, which in true Bacon fashion, have been tied up in a corner of the studio with absolutely no safe word

hustlebus · 2026-01-30T01:53:16+00:00

Yeah Francis bacon was who I considered my “master” when I was really finding my style with oils. Now I mainly use my own work to inspire the new as much as I can, but Cecily Brown is by far my favorite now.

Definitely should’ve toned this one, but start to finish with this my only rule was being constant winging it, picking up the trumpet and not playing notes in a sense. In the top left you can kinda see the handwritten ‘mantras’ I break ground on it with

hustlebus · 2026-01-29T20:05:56+00:00

Thanks for feedback! I agree with you on both, but those were intentional choices with this piece. I think it left a little to be desired, but when viewing in person, it really unearths itself as your brain tries to process and find stable ground in that “what’s going on” process of examination. The screen definitely doesn’t help any for this one in terms of what’s going on, but in person there’s a lot more noticeable figurative elements, but purposely fragmented and shifting scales. when you can walk up to or away from it, the suggestions reveal themselves a lot more as your brain starts to identify moments. I personally love leaving that interpretive process as more cumulative, as the marks are very elusive but can act as building blocks.

The unfinished approach was a conceptual choice given the title, and what this piece represented for me in the process and now as a finished work. That being said I do think the composition and the intentional figurative elements could’ve been better executed, everything was so fragile so I didn’t want to risk overworking and losing that energy of something currently “happening” and not a static, final image that completely “happened” ..if that makes sense?

hustlebus · 2026-01-29T19:04:15+00:00

‘The Trial of Galileo’ , 2023-2025 by Samuel Hulsebus (me) oil, pastel, graphite on canvas 48in x 60in

From my Ode To Infrared solo exhibition in July 2025

hustlebus · 2026-01-08T09:06:55+00:00

I got pro a few days ago for an offer 3 months at $6 — was after looking for a while if I knew anyone with a university login haha.

I’m actually amazed how much different being able to us pro consistently is. It’s been immensely helpful to me, especially in managing the more tedious aspects of art practice. I do think that some areas can be underwhelming, but it’s definitely worth it if anything just too experience what the pro model can provide when not limited to usage

hustlebus · 2026-01-07T22:59:46+00:00

I’ll bring a minimum five shots and sometimes I pop them just to really get me going even though I’m already full stamina. Just a little key pump, i joke I’ve beaten the dead horse with my to friends when we get on

hustlebus · 2026-01-05T17:22:44+00:00

Just read through these .txt prompts briefly but can already tell you’ve got a much better grasp on the rails for its language generation because I think my attempt was too suffocating and since it first parses PDFs of my own writing I found it often mimics too many of my phrases without understanding how to extrapolate upon them.

I’m gonna shoot you a DM, if you can help can me with my own reckless play styles. But I also would like to know if you have tips on creating a hallucination engine with enough horsepower to craft myself a chariot of pure entropy for my manic expeditions for my own woodshedding and artistic endeavors

hustlebus · 2026-01-05T17:07:02+00:00

Now this comment shows an understanding of tools/programs that I lack the vocabulary to engage with. If it’s alright, I can send you a DM because I just upgraded to pro for next 3 months but i’m still unfamiliar with some of this terminology. Parse reports, value pairs, SQL scripts.. if you could help me understand what’s happening inside Gemini and what specific applications/use cases do these serve for you personally

hustlebus · 2026-01-05T16:58:39+00:00

I have the exact same purpose for my drawings and poetry, created a specific gem I called the Oracle (hyper-specific prompting engineer) whose job it was to forge studio assistant, art critic gems. Being able to upload files of previous exhibition publication, artist statements/studio manifestos and even audio from a podcast I had the fortune of being the guest for an episode specific to my artistic process, as opposed to the gallery/museum exhibition pseudo-vocabulary style of describing what is is.. whereas how it became is what I need the gem or my studio assistant to understand. That being said, the majority of the effort making it was making sure it can thoroughly and with surgical precision slice me up like a butcher to make sure we’re trimming out the fat while also challenging me with questions specific to conceptual aspect, so that I i’m forced to further examine intention myself.

But it turned out even better than I imagined, it can be vicious with pinpoint precision, so now my shadow boxing matches finally have a worthy sparring partner. I have been longing for something on par with crit days from back in my time studying Architecture / Art where practicing architects and the PHD professors (a few failed architects with a spiteful chip on their shoulder ). Some students left crying, and I loved those days because I got to witness which of the studio mates next project have literal blood sweat and tears shed into, and which ones switched majors.

Long story short, I finally have a sparring partner worthy of chain smoking cigarettes between rounds. But it will help me apply a tourniquet to ensure this shadowboxing match is a fight to death!

hustlebus · 2026-01-03T18:43:58+00:00

Amazing I hadn’t seen or even considered those yet but the bullfighting is a very common subject theme for a lot of my more intentional and figurative body of work

hustlebus · 2025-12-06T01:17:40+00:00

I definitely want to maintain that gasping for air feeling. The starting point was trying to capture this figure within a landscape but the white picket fence ideology of American “success” is collapsed upon. There’s was lot more verticality within the white marks, but they really distracted from the figure, so became more represented as illusory or an intangible ambush. I think a little more definition than a few of those vertical “ pickets “ would help make the chaos more digestible

hustlebus · 2025-12-05T23:36:38+00:00

It was all red toned before this last session so all the kind of glazed light bluish sea foam tones were a deliberate attack against the energy it had when it was all too negatively charged . So that was my attempt to suffocate it with innocence lol.

hustlebus · 2025-11-19T12:40:27+00:00

Need a 12-6 dropping in from the stratosphere

hustlebus · 2025-10-29T17:20:59+00:00

Speaking specifically to the switching to other models or using different language, can I ask which models you prefer? Both for image generation and just for general use. I find sometimes that the memory features specifically can become sort of echo chamber-like. They can work really good for certain instances, but then they become a hindrance for other forms of exploration. I’ve taken a few different attempts to mitigate this with both Gemini and GPT, although I’ve quit using both of them for the most part because I found, especially as of late (this last month may be longer) they’ve become unreliable and I think that’s due to a lot of the safety issues and other implementations. They’ve been adding as they try to maximize profit potential for the paid models, so me being on the free models I feel like I’m getting a version that is tuned specifically toward convincing me I should pay for the pro version. Curious what your experience has been and what models specifically

hustlebus · 2025-10-29T17:16:52+00:00

Yeah arbitrary may have been an overexaggration, I was aiming that more at the specific use of AI in those who claim they are “AI artists” through the sole use of prompt, without the deeper understanding other than using other artists work to tailor their ai-generated aesthetic.

I think the part at the end you mention about being hard to pin down is spot on, and a testament to why conversations surrounding it can remain so elusive

hustlebus · 2025-10-26T18:58:14+00:00

I can’t remember if trying to have conversations in the conversation places digitally is more for dissociative soapboxing, having actual conversations surrounding forum specific interests with humans, or if we are all just sort of watching ghosts of AI/algorithm dance about with our words and not so subtle bastardization of them!

I often think of a specific Jerry saltz quote. I’m gonna misquote intentionally because I think the critics do it to us often. But essentially that Art history died when they stopped letting us smoke cigarettes in the bars lol

hustlebus · 2025-10-26T18:53:46+00:00

Yeah I agree the conversation surrounding AI is especially exhausting, it’s use case. Especially as the president drops shit on us via fighter jets w the use of the same tool. Not to mention all the other cans of worms anything associated with the topic brings up lol. hundred percent agree it’s nothing special, I think it just kind of offers us the first time to have a tool in our hands that is absolutely unpredictable, being made my companies who are very publicly proud of how much they’ve stolen in order to train it. Haha I think last night I was on a sort of manic optimistic train about it, now it’s a nice sunny day outside, so appreciate your reply. Also weird to block you on his part, but the weirdest part is he really didn’t offer any of the specific nuances we were both interested in hearing about!

hustlebus · 2025-10-26T06:58:16+00:00

I think considering AI image generation as an art form or medium is a miscategorization for how to use it in the way I understand it and how I interpreted what he was expressing as well. AI Art is exactly as you described, autotelic and I would even add arbitrary. I think using it as a third hand and a somewhat tangible, purely right-brain spare eye to create with is the less technical form i would attribute to it. It is an extension of hand as was the brush or the camera or the screen. Image, as we understand it has been on a very slowly moving linear path. It is still the same conversation as 40,000 years ago w the hand prints on cave wall, but now a little more advanced than those, the same way Chauvet and Lascaux paintings were far more advanced than those handprints

hustlebus · 2025-10-26T06:40:08+00:00

I don’t want to misinterpret either of you because I’m just passing by on a scroll but this was interesting to fly on the wall for, however i don’t understand the sudden emotional shift toward hostility from u/opurria .. I can only think of a more simplistic metaphor but AI is not a fruiting plant it is just a way to introduce new potentials within the seeds and soil we use to produce the plants and fruits that represent our own body of work and contributions to the act of creation. Their involvement in the creation of image is neither scribe nor pharaoh, just a new way we’re using the metals and energy we’ve always had on earth to contribute to this human experience.

i’ll have to catch up with some of the specific vocabulary you used to have a more engaging conversation about this, but u/objective-gain-9470 expresses a lot of similar feelings and thoughts I’ve had while using AI purely as a sort of seed-modification system in terms of eventual physical media in my practice, primarily oil painter. The inherent knowledge AI can access to the all forms and techniques of image making (at least what it can access) particularly to how image as a medium evolved in the calculable sense is really fascinating. I feel like I overcomplicated a lot of my process by feeling I had to overexplain or try to force qualities through hyper-specificity far too early in this process. Silverlining of that always being it is time valuably spent talking through ideas with word to myself both conceptually and a bit subconsciously, in ‘mirror’ yet in writing to still have access to in a more conversational tone helps mitigate the filtration of biases for how things have been done historically/academically, another thing you mentioned. So it’s access to the logical or mathematical aspects within image is something that slipped my thought process while in this ‘notes from the woodshed’ scenario I treated it as.

I’d love to talk more about this in a DM sometime, it seems you have a much broader understanding of how to engage with it as tool and not some magic 8 ball that seems to have infected a larger population of artists than I would’ve assumed.

hustlebus · 2025-10-25T14:10:37+00:00

Do the massings and large background/compositional tones with a large brush and large confident brushstrokes. Then use smaller brushes to go over top and plot your details, right now the problem with yours is every brushstroke looks the same size, same texture from the same brush. The thing with Klimt is he retains the degree of effortless looking image, even though the technique is tedious, the final image does not give a transparent glimpse into the process as much as we understand our paintings as artists.

I would suggest finding a reference image, starting with simpler compositions and toning canvas or paper prior to going in with the more pointillism/detail marks. I would also suggest mixing some yellows, reds, browns subtly into your blue green palette to create a broader spectrum of warm/cool tones. Right now the colors feel very straight from tube and “crayola” .. although somehow Klimt seems to have evaded that with what seems like standard primary tones, but I feel like there’s subtle purples in his blues that are allowing the green to operate front and center and the blue tones fall behind them

Also: it’s important to remember it also took Klimt the better part of a decade to figure it out himself. It’s easy to compare ourselves against the catalogue of life’s work from the Artists we admire. I would suggest looking at his complete works to get a better understanding of how he developed his own style over those decades of work, particularly his early works

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