• Stephanie Potter Corwin—is an internationally-exhibited visual artist whose work explores the intersection of digital and physical environments. Using data and generative design, she investigates the fragility of perception in the face of environmental and social change. Her work highlights the tensions between individual and collective experience, prompting reflection on how artificiality and conformity shape our understanding of reality and the future. 

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  • Autopoeisis—2025 visualizes digital entropy in an era when AI systems increasingly train on their own synthetic byproducts.



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Each image begins with a single photograph from a UNESCO World Heritage Site and undergoes successive cycles of regeneration (AI referencing AI) until the original signal erodes entirely. The process transforms image into recursive residue; fragments that consume themselves in the act of reproduction. What emerges is a portrait of self-cannibalizing intelligence—an inversion of the biological term “autopoiesis,” where systems sustain themselves through the very mechanism of  their decay.

16:9 looping video; inket prints.

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  • in the intervals of storms—2026 considers data centers as a series of synthetic cloudforms. Each is a digital painting, generated by coordinates and disclosed water use data from specific facilities across the US. 



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The coordinates set each cloud's shape, while a facility’s water withdrawal—ranging from about one thousand to nearly five million gallons a day—determines its density and brightness. The images are paired with excerpts from Luke Howard's 1803 Essay on the Modification of Clouds, the text that first gave clouds their names, reimagined as a contemporary poem. Where Howard set out to classify the sky’s passing forms, this series catalogs a new, manufactured cloud phenomenon.

Citations:
Google, Environmental Report, 2026
Howard, L., Essay on the Modification of Clouds, 1803
Meta, Environmental Data Index, 2025
Microsoft, Environmental Data Fact Sheet, 2026 

Inkjet prints on Hahnemuhle photo rag metallic paper;
70x100-cm. 

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  • Future/Potential—2023 examines how aggregated online imagery can lead to ‘climate blindness’, unintentional desensitization toward environmental crisis.



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Five hundred image-search results for endangered sites were merged, averaged, and algorithmically reorganized by hue to form seamless, abstracted landscapes. Installed guerrilla-style across Los Angeles, the works reinserted digital aesthetics into real-world contexts of visual overload and inattention. By reframing climate awareness as subjective, the series invites viewers to reconsider the visions of the future we may unconsciously construct.

Wheatpaste posters; interactive website
36x48-in.  

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  • autocomplete.us—2019 using Google predictive search data from New York and San Francisco, individual, self-focused search queries were silently broadcast back to the city's streets.


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Ranging from the banal to the personal to the existential,  the work recasts private behavior as a public mirror, exposing patterns of curiosity and insecurity embedded in everyday digital exchange. By externalizing these intimate data fragments, Autocomplete.us transforms isolation into shared experience, revealing a latent empathy within the digital collective. Collaboration with Jeremy Mende


Mobile LED Advertising Kiosks
12x36-in.

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  • Murmurations (100,000 selfies)—2018-2022 created from more than 100,000 publicly posted selfies, Murmurations visualizes how the performance of individuality generates collective patterns.



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The forced grouping of selfies exposes subtle choreographies of posture, framing, and expression, gestures replicated by millions yet believed to be personal. In highlighting this repetition, the project turns digital self-expression into evidence of social synchronization, revealing the quiet order hidden within apparent randomness.

48x64-in Duratrans with LED lightboxes; 16:9 Video


Exhibitions:
So Close Yet So Far, LEVYdance, 460 Gough Street, San Francisco, CA, 03.14—04.25.2021
Aesthetica Art Prize Exhibition 2020, York Art Gallery, York, UK, 03.13—07.18.2020 
The de Young Open 2020, de Young Museum, San Francisco, CA, 10.10.2020—01.03.2021  

Exhibition photographs by Stuart McSpadden

6.

  • Simulacra—2024 examines the contamination of the internet from AI-generated imagery, mirroring the pollution of natural ecosystems.



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Using a bespoke generative algorithm, the project produces synthetic portraits of endangered California species, then deconstructs and reassembles them pixel-by-pixel. In this process, artificiality is peeled back to reveal an authentic abstraction. The work exposes how machine learning collapses nuance into averages, flattening character and imperfection and asking what kind of truth remains when digital representation outlives the world it imitates.


Video: Digital (color), 53:40
Digital C-prints, 32x18-in ea.
Companion website

7.

  • Weather Patterns—2024 using datasets from extreme meteorological events, Weather Patterns translates environmental volatility into generative turbulence.

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The data drives chaotic attractor systems that produce intricate, non-repeating geometries bound within specific limits. These evolving digital drawings mirror the complexity and unpredictability of a planet in flux, transforming raw environmental metrics into visual meditations on instability and interdependence.


Inkjet print on newsprint and offset litho prints
23x30in.

8.

  • Circadian Echoes—2018 collects chromatic data from the sky at fixed times each day for a full month.

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These colors, distilled into 5-7 pixel samples, are algorithmically re-expanded into abstract compositions, transforming daily observation into a generative loop. Each visualization becomes both measurement and memory, merging atmospheric rhythm with computational process. Developed as part of the Regeneration Artist Residency in Oakland, California.

Dye-sublimation on aluminum.
62x74-in.
© 2026 Stephanie Potter Corwin

STEPHANIE POTTER CORWIN

SELECTED WORK