ISSN: XXXX-XXXX SPECIAL ISSUE 2025

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BANE OF THE PRODIGIOUS

Avery Stainton

Bachelor of Fine Arts, Thompson Rivers University, 2025

This special issue of Future Earth Journal:

Explorations in Art and Generative AI showcases

the work of visual art students from the Fall 2024

Selected Topics visual art course Explorations in Art

and AI. Each featured artist engaged with genera-

tive artiﬁcial intelligence (Gen AI) to create original

artworks that respond to and reﬂect on current

conversations in art and technology. Through their

unique practices, these students explored Gen AI as

a tool, a collaborator, and/or a conceptual inﬂuence.

The artworks featured here—and in the exhibi-

tion held at the TRU Art Gallery from March 17–29,

2025—highlight the cultural, ethical, environmental,

and creative dimensions of using Gen AI in artistic

production.

Avery Stainton is one of the participating art-

ists whose work exempliﬁes this exploration.

AI Source: Midjourney

ARTIST STATEMENT

"Bane of the Prodigious" encapsulates the

intricate tension between beauty and conﬁne-

ment, purity and loss, presenting the entrapment

of a mythical creature in a world that seeks to dom-

inate the extraordinary. This painting, created in

oils on a wood panel, is a visual exploration of rich

textures and deep shadows that evoke a profound

sense of both sorrow and resilience. Through this

work, I aim to draw the viewer into a contemplative

space where the dualities of existence can be fully

examined.

In my creative journey, I have embraced AI as a

Figure 1. Bane of the Prodigious (2024) by Avery Stainton.

Oil on board, 14” x 8” (Image credit: Nicole Favron)

futuristic collaborator—akin to a modern-day alche-

mist striving to harness the power of a fantastical

being. Just as the unicorn symbolizes extraordinary

beauty and magic, AI embodies immense potential

that, when guided thoughtfully, can elevate artistic

expression to new heights. By consulting AI for cri-

tiques and guidance throughout the artistic process,

I can explore fresh perspectives while reﬂecting the

wisdom of the old masters. This relationship fosters

an environment ripe for innovation, pushing the

boundaries of my creative practice.

However, this partnership is not without its

complexities. It raises critical questions about

agency and control—parallels that resonate with

the themes reﬂected in the unicorn’s captivity. While

I endeavor to channel the transformative power of

AI, I remain acutely aware of the implications of

wielding such inﬂuence. In an age where technol-

ogy is oen seen as a tool to serve our desires, it is

essential to recognize the risk of prioritizing utility

over the sanctity of creativity. The act of collaborat-

ing with AI can mirror the act of trapping a unicorn

for its power—an endeavor fraught with ethical

dilemmas and the potential for exploitation.

"Bane of the Prodigious" invites viewers to

reﬂect on the implications of chaining the extraor-

dinary, whether in the form of a mythical creature

or cuing-edge technology. This artwork serves as

a conduit for contemplation regarding the cost of

beauty and innovation when constrained by lim-

itations. It challenges us to consider the delicate

balance between guidance and restriction in our

pursuit of creative expression. Are we, as artists and

creators, truly capable of harnessing the extraordi-

nary without compromising its inherent value?

In navigating this landscape, I am driven by a

desire to unveil the complexities of our relationship

with art and the fantastical realms that inspire us.

The unicorn in my painting becomes a metaphor for

the extraordinary potential that exists within both

the natural world and the technological advance-

ments we embrace. By reﬂecting on the nature of

creativity itself, I encourage viewers to engage in a

dialogue about the consequences of our choices

and the ethical implications of how we wield our

artistic tools.

Ultimately, "Bane of the Prodigious" serves

as an exploration of not only the beauty found in

the mythical but also the complexities inherent

in the creative process. It beckons us to question

whether we can truly harness the extraordinary

without losing sight of its inherent value. Through

this interplay of the mythical and the technological, I

aim to foster a deeper understanding of the delicate

relationship between art, beauty, and the forces that

shape our creative endeavor.

Figure 2. The artist's original digtal sketch and Midjourney generations of that image in the style of Gerald Brom, Annie Stegg and

Dariusz Zawadski

Process

Avery created a sketch which she fed to

Midjourney as a “character reference” to create a

unicorn portrait in the style of various artists whom

she admires: Gerald Brom, Annie Stegg, and Dariusz

Zawadski (these artist’s styles were already known by

Midjourney). She used those generated images as ref-

erences, taking inspiration from the parts she found

most intriguing to create an original painting.

Figure 4. Bane of the Prodigious in situ Gallery installation of "Hutch the Heinous" (2024) by Avery Stainton. (Image credit: Twyla

Exner)

Figure 3. Bane of the Prodigious in situ Gallery installation of

"Hutch the Heinous" (2024) by Avery Stainton. (Image credit:

Twyla Exner)

Bane of the Prodigious (2024) by Avery Stainton.

Oil on board, 14” x 8” (Image credit: Nicole Favron)